!i ill \' 



Coat 



(mii^ 



Vest Systems 



^^1^33 — 



ELEMENTS OF GARMENT GUTTING. 



FOURTH KDITIOIV, 



LIBRARY OF CONGRESS. 

®W* - ©"Wigill ^0- 

Shelf .ii.\.a. ■ 



UNITED STATES OF AMERICA, 



=i>^ 



^ 



'^^ 1885 



DVC^^IDISOZsT'S 



SHOULDER MEASURE 



COAT AND TEST SYSTEMS 



i:]yn:p:RO"\r:E]i3, 



-AND- 



l^leii\ei:\t^ of G[cit^ii\eqt C5itttir\g', 



ir 



^ 



i^i 



FOURTH EDITION 







PUBLISHED BY 



^^ JNO. J. MITCHELL CO., 



1885. 



,1^ 






Copyright, 1885, l)y J. O. Madison. 



f ' 'A//^ 



John Polhemus, Printer, 102 Nassau St., N. Y. 



INDEX 



PAGE. 

Preface ......... 5 

Improved Shoulder Measure System. — The Measures . . 7 

How to Draft. — Coats . . . , . . .10 

Proportionate Sizes . . . . . . .48 

Vests ......... 50 

Pitch of Shoukler ....... 55 

Distribution of Cloth in Front and Back of Arm . . .65 

Balance . . . . . . . . 71 

Height of Neck . . . . . , . .83 

Probable Faults . . . . . . • . 89 

Practical Hints to Cutters . . . . . .103 

Optical Illusions ....... 139 

Making . . . . . — . . . .151 

How to Alter ....... 153 

Duties of the Cutter . . . • . , . .159 



PREFACE. 



In 1878 the first edition of this Work was issued. It had a rapid sale 
and was followed in 1880 by a Second Edition. This also sold rapidly and 
in 1882 it was necessary to print a Third Edition. But instead of doing so 
under the same title, a Short Measure Coat System was added and the Work 
rechristened the "M. and H. Coat and Vest Systems." Although this Edition 
is not entirely exhausted the author has made so many valuable improve- 
ments to his System that it is deemed expedient to issue a Fourth Edition. 
This Edition discards the short measure system of the"M. and H," issue, and 
gives 45 pages of letterpress and illustrations of entirely new Matter in 
explanation of the Author's Shoulder Measure System. 

The long continued popularity of this System warrants the belief that 
the improvements given in this edition will secure for it a hearty welcome, 
and prove of great value to the trade. 

For the kind and generous indorsement of his Works generally, and es- 
pecially of the System herein given, the pi-ofession is assured of the sincere 
thanks of its humble servant. 

THE AUTHOR. 



MADISON'S 



II 




ED SlOOLDER M'EASIE sySTEM. 



THE MEASURES. 



HOW TO TAKE THEM. 

The measures required for a coat are the waist and full lengths, sleeve 
lengths, breast, waist, high hip, upper shoulder, baUnce and lower shoulder. 

The shoulder and balance measures are taken as follows : 

The Uppkr Shoulder. — Place tape at the point where it is intended the 
top of back should be and hold it in position with the fingers (iiot thumb) of 
the left hand as illustrated by Fig. 1 on page 119. With the right hand 
carry it around the una, Tceeping it tight and close to the arm. Carry it 
straight from the back of arm up toward the point of beginning, and catch it 
between the thumb and forefinger of the left hand as illustrated by Fig. 2. 
This leaves the right hand free to press your clients shoulder down or his arm 
to his side if necessary. Next place the fingers of the right hand on the first 
end of tape as illustrated by Fig. 3, and with them hold it firmly, while with 
the left hand you carry it past the starting point as illustrated by Fig. 4. 
This completes the upper shoulder measure. 

For an average 36 breast, this measure will be 25|, but for the same 
breast size, if the shoulders are very sloping it may be as large as 26, or if 
very square, as small as 24. It is , very seldom that it will be either larger 
than 26 or smaller than 24. 

The Balance Measure. — Having called off the upper shoulder measure, 
without allowing the tape to slacken, drop the thumb of the right hand upon 
it between the arm and finishing point, as illustrated by Fig. 4, and hold it 
firmly with the fingers and thumb, letting go with the left hand altogether. 
Now, pick it up with the thumb and forefinger of the left hand between the 
thumb of the right and where it leaves the arm, and carry it from the front 



MADISON'S 




OEDER Measure iystem. 



THE MEASURES. 



HOW TO TAKE THEM. 

The measures required for a coat are tlie waist and full lengths, sleeve 
lengths, breast, waist, high hip, upper shoulder, baUnce and lower shoulder. 

The shoulder and balance measures are taken as follows : 

The Upper Shoulder. — Place tape at the point where it is intended the 
top of back should be and hold it in position with the fingers (not thumb) of 
the left hand as illustrated by Fig. 1 on page 119. With the right hand 
carry it around the ariii, Tceeping it tight and close to the arm. Carry it 
straight from the back of arm up toward the point of beginning, and catch it 
between the thumb and forefinger of the left hand as illustrated by Fig. 2. 
This leaves the right hand free to press your clients shoulder down or his arm 
to his side if necessary. Next place the fingers of the right hand on the first 
end of tape as illustrated by Fig. 3, and with them hold it firmly, while with 
the left hand you carry it past the starting point as illustrated by Fig. 4. 
This completes the upper shoulder measure. 

For an average 36 breast, this measure will be 25^, but for the same 
breast size, if the shoulders are very sloping it may be as large as 26, or if 
very square, as small as 24. It is , very seldom that it will be either larger 
than 26 or smaller than 24. 

The Balance Measure. — Having called off the upper shoulder measure, 
without allowing the tape to slacken, drop the thumb of the right hand upon 
it between the arm and finishing point, as illustrated by Fig. 4, and hold it 
firmly with the fingers and thumb, letting go with the left hand altogether. 
Now, pick it up with the thumb and forefinger of the left hand between the 
thumb of the right and where it leaves the arm, and carry it from the front 



MADISON'S COAT SYSTEM. 



of arm in a winding direction to the natural waist (Point 2, Fig. 1), as 
illustrated by Fig. 5. For an average 36 breast this measure should be 23 
inches, but it is longer for over erect and shorter for stooping figures. 

Great care should be taken not to get this measure too long. It should 
be equally as tight as the upper shoulder and should never be taken in a 
straight line from front of arm, but in a winding direction below the under 
arm muscle to the natural waist. 

Thb Lower Shoulder. — Point 1 on Fig. 1, is opposite center of arm, or 
the point where back pitch of sleeve will be. It is not necessary to be exact 
about it, because it will not perceptibly affect the measure if it is located an 
inch higher or lower than marked. Place the end of tape at 1, hold it with 
the fingers of left hand the same as for the upper shoulder. Carry it over 
and under the arm with the right hand, catch it between the thumb and fore- 
finger of the left, and complete as illustrated by Fig. 6. This measure 
averages ^ inch less than the upper shoulder, but for extreme sloping shoul- 
dered figures it runs as much as 1^ inches less, and for high shouklers as 
much as 1 inch more. For the average 36 breast it is 25 inches. 

The Sleeve. — See that your client's arm is raised level with his shoulder 
and is bent to form a right angle from center of back to wrist. Measure to 
the knuckle of the little finger and call oft' 2 inches less. 

The Breast is taken while standing behind your client. Carry the tape 
straight around the body over the lai'gest part of chest and over the largest 
part of blades. 

The Waist is also taken from the back and should be taken closely. 

The Hip Measure is taken exactly where the waistseam is intended to 
be and is drawn as tightly as for the breast. 



10 MADISON'S COAT SYSTEM. 



To Draft. 


Diagram A. 


The measures used for this draft are as follows : 


17 natural waist. 

18| fashionable waist. 

— full length. 


25 upper shouldei 

23 balance. 

2,0 lower shoulder 


19 elbow. 

30^ sleeve length. 


36 breast. 
32 waist. 
34 hip. 



The draft is always made by the lower shoulder measure, on the suppo- 
sition that the upper and lower shoulder measures are alike, using the lower 
shoulder because it properly establishes all the widths. The upper shoulder 
after these are established gives the depth of scye. In the above measures 
the two shoulder measures are the same. 

The lower shoulder being 25 we draft by 12^ which is half of 25. 

Square lines A, C and A, JJ. 

Place the square so that 12^ of one arm touches at A while 12| of the 
other arm rests on top line as at (7, and mark around it as from A to B, and 

Bio a 

Square through B by the line A, U, as line Z>, R. 

E is half way between A and D. Square across from E. 

Place edge of square to touch at (7 and i^and make a point on back 
seam as at G. 

G to His ^ inch less than half of lower shoulder, or 12 by the measure 
we are using. 

Square up from ^ by G, JI, and make / 1 2^ or half of lower shoulder 
from A Square from / by point B. ^ to ] , is three inches and 1 to 2 is f inch. 

^is lialf of 12|, or half of lower shoulder as used in drafting, (6:^), 
from point D. L is \\ inches from Etor all sizes. Square up from X. M 
is the point for notch. (? is |^ breast from 0. P is half breast from Z>, and R 
is 2 inches from P. 

U is natural waist from A, and 3 is full length. 

Apply balance measure from /to /Tand H to 8, add If inches from ^to 
2. The distance from T to Z7 is the amount to be taken out between back 
and sidebody. 

Square down f rom ^ inch in advance of B, and divide on each side of * 
at waist half of half the difference between the half breast and half waist. 
As half breast is 18 and half waist 16, there is a difference of 2 inches, half 
2 is 1, thei'efore Tf to Fis 1 inch, making * W \ and * F^ inch also. A 
simpler way is to take out between W and F \ inch for each inch the waist 
is smaller than the breast, as it is 4 inches smaller, we take out f or 1 inch 
equally divided on each side of *. 



MADISON'S COAT SYSTEM. 



11 




P^ ^ 



P^ 1^ W 



A 



j:/! 



{> *^i- 



co 



12 MADISON'S COAT SYSTEM. 



Double Breasted Frock. 

Diagram B. 

This draft represents that of Diagram A finished. But in order to assist 
the student in learning the method the explanations are repeated. 

Square lines A, Cand A, /S. Place the square so that 12| of one arm 
touches at A and 12^ of the other arm touches top line as at O, and mark 
from ^ to ^ and from B to O. 

Square across by line A, S, through point £, as line D, F; mark half 
breast as at JS, and add 2 inches as to i'! 

G is half way between A and D. Square across from G. 

Place square so that the edge touches at (7 and J^and make a point at I. 

I to J\s { inch less than half of lower shoulder, or 12 inches. 

Square up from t/by point I. J to A'' is 12^, half of the lower shoulder 
measure. Square from K by point B^ as line K, L. 

Jf is :^ of lower shoulder, or ^ of 12^, that is 6;|- inches from D; add \\ 
inches from M to N. Square up from N. Draw a line from C to F. 

R is natural and yiS' fashionable waist lengths from A. 

6> is 3 inches from A and jP is f inch from O. 

Shape the back, raising at 6 say 1^ inches above the notch and commenc- 
ing the sideseam 1^ inches below as at 7. These proportions are only for 
prevailing styles and may be varied to taste or fashion. Not very long ago 
the shoulder seam was run as low as to the notch, and for plaided goods I have 
placed it as high as 2 inches above the notch. The width of back from 8 is 
a matter of taste or style ; at present 2^ inches is the average. Shape the 
sideseam with a moderate curve. 

Apply half of the upper shoulder measure, 12|, to point ^^and measure 
to R^ adding If inches for making, and whatever the draft measures to R 
more than the balance, 23 and the If added, take out between Tand JJ. As 
this draft measures 26f to R and as the balance 28, with If added, is 24f , the 
draft measures 2 inches too much, thei'efore 2 inches are taken out between 
1 and U. 

Shape sideseam of sidebody reducing a seam at breast line and sweep 
for length by point 7, see dotted line. 

Square down from \ inch beyond B, and shape bottom of sidebody to a 
seam above the natural waist line. 



14 MADISON'S COAT SYSTEM. 



Reduce from F to W ^ inch for each inch the waist is smaller than the 
breast ; as the waist is 4 inches smaller we reduce 1 inch which is usually di- 
vided on each side of the line sc^uared down from scye. Shape under itrm 
seams through V and W. 

Square across from bottom of sidebody as line 2, 2, and draw a line 1 
inch lower down, as line 3, 3. 

Measure from S to width of back, apply this amount to sidebody at bot- 
tom and measure to underarm cut; apply this amount to bottom of fore- 
part at under arm cut and measure to 4 half hip, adding 2 inches to 5. 

Shape bottom to point 5 and draw a line from 5 to ^. Cut out the back 
and place point A on point ^with the backseam resting on the line II, L, 
and mark along the shoulder seam, the neck and back scye. 

Remove back and shape the shoulder, reducing I inch at scye, raising | 
above the broken line, over the round of shoulder and hollowing about as 
much between there and the gorge. 

Gto 1, is ^ breast, this gives the right length and depth for the gorge of 
a military or clerical coat, but for short rolls the gorge should be raisfid from 
^ to f inch. 

Shape gorge raising ^ inch above point 1. 

Shape scye so as to pass gracefully through point t/J sinking it § inch be- 
low the breast line, and finishing from 7 to £. 

For a double breasted frock add i inch beyond i^, for lapel seams and 
shape front as represented from 1 to 5. 

Curve the waistseam for a double breasted frock so as to pass half way 
between lines 2, 2, and 3, 3. 

Sweep from 1 by about 2 inches below ^, and make 1 to 8 as a rule 1 1 
inches. Draw a straight line from 8 to 5. 

Make the lapel say 2| inches wide at top, 2| at breast and 2^ at bot- 
tom. These proportions are, of course, matters of taste and fashion, and 
may be varied. The button line is 2 inches back from J^und H inches from 5. 
Space buttons and finish as represented. 



Application of Upper Shoulder Measure. 

Diagram C. 

All the points on this draft are first established by the lower shoulder 
measure, as already explained. 



16 MADISON'S COAT SYSTEM. 



Now, should tlie upper shoulder be 25^ instead of 25, tlie draft would be 
i inch too small from 1 around scye up to A, because these points were ob- 
tained by the lower shoulder, which is only 25. 

Of course we have to add ^ inch. 

This we do as follows : Raise the neck I inch from 1 to 6, or half the 
diffei'ence between the lower and upper shoulder measures, and the same 
amount from 2 to 7. The point A is, of course, by the lower shoulder 12^. 

Cut out the back and place point 1 at A, with the backseam resting on 
the squared line A, £. The amount added from 1 to 6 projects beyond A as 
to 4. The broken lines clearly illustrate the position of back. 

Now pivot the back at 5 and swing it up until point marked 4 touches 
the line C, A, as at O. Point 4 is of course the same as point 6, as marked 
on backseam. 

This adds \ inch from 3 to -Z'^ and this \ added to the \ from 1 to 6 
makes up the lacking half inch, and makes the draft, 25^ from 6 around 
scye up to O. 

DiAGEAM D. 

The measures for this draft are reversed, the upper shoulder being 25 
while the lower is 25A. 

As before the points are first obtained by the lower shoulder, using, of 
course, 12f instead of 12^ as for preceding drafts. This gives \ inch too much 
from 1 around the arm scye to 2, and the draft must therefore be reduced \ 
inch. The reduction is made as follows : From 1 to 3 and 4 to 5 is :f inch. 

Now, shape and cut out the back, cutting the top from 1 to 6 and 
thence to 4. 

Place point 1 at point 2 with the backseam resting on squared line 
2, A. The broken lines show the position of the back. 

Now pivot at 8 and swing the top of back down until point 3 touches 
the line B, 2, as at K. Mark along shoulder seam and remove back. This 
shortens the front shoulder \ inch between O and 0, and lowers the neck that 
amount also, making the measures prove. After establishing the shoulder, 
the piece left on the back from 1 to 6 must be cut off to 3. 



MADISON'S COAT SYSTEM. 



Four Button Cutaway. 

Diagram E. 

The measures by whicli this draft was made are as follows : 

17i natural waist. | 26 upper shoulder. | 37 breast. 

19 fashionable waist. | 23| balance. j 32 waist. 

I 25 lower shoulder. j 34 hip. 

The measures are for a sloping shouldered, small waisted, extra erect 
man. 

The draft is made, of course, by the lower shoulder measure, which is 25. 

Place Scjuare so that 12^ inches of one arm touches at ^, while 12i of the 
other arm touches the top line and mark alonsj the edge of each arm, as from 
AtoB and B to C 

Square aci'oss through B by the back line as line D E. 

Eh half breast from D, 18^, and i^^is 2 inches from E; add 1^ inches 
from ^to G. 

II IS half way between A and D. Square out from II. Z is on a line 
with points Cand tT. 

ICis h inch less than half of the lower shoulder from 7^ or 12 inches 
for the measure by which we are drafting. 

Square up from ^ by Z Zi is half of lower shoulder, 12i from ^ 
Square line X Mhy point B. 

iV is ^ of lower shoulder or half of 12^ from D, that is, Gl inches, add 
IJ inches from iV^to O and square up. From ^ to 1 is 3 inches and 1 to 2 
is J inch. 

Now as we have drafted by 25 and as the upper shoulder measure is 26, 
the draft from A around scye to X is 1 inch too small, we thei'efoj'e add a 
half inch from A to 4 and 2 to 3, and obtain the other I inch by swinging up 
the back at front shoulder. 

Shape the back from 4 to 3, 3 to scye and from the back scye as repre- 
sented. 

Tlie natural and fashionable waist lengths -are applied from 4 to X* and 5. 

Commence the sideseam say 1^ inc-lies below the notch, and shape 
through T, which is 2^ inches from X*, or make the width at tack according 
to style or taste. 

Apply half of the upper shoulder measure, 13, to point J{ and measure 
toward P the balance measure, 23f, as to i?, add If inches as to S, and Avhat- 
ever is over, as from S to P, is to come out between the back and sidebody. 

Tto Z7is the same as from S to P. 

Shape sideseam of sidebody through TJ, reducing a small seam at breast 
line. 

Get length to 6 bj' the back and square down from \ inch beyond B. 

Shape bottom of sidebody to a trifle above natural waist line. 



20 MADISON'S COAT SYSTEM. 



Take out between F'aud TFj^ inch for each inch the waist is smaller 
than the breast, foi' this di'aft |^ or 1^ inches, as tliei'e are 5 inches difference. 
This 1| inches is usually divided on each side of the perpendicular line, but 
the underarm cut may be placed so as to make the sidebody witler or nar- 
rower as desired, always, of coarse, taking out the same amount, that is, the 
amount indicated by the difference between the breast and waist. 

Square line 7, 7 across 1 inch below the bottom of sidebody, point 6. 

Apply hip measure, 17, from 5 to 8, 6 to 9 and lOto ll;add 2 inches to 12. 

Draw a line from 12 to i'', and from ^to C 

Cut out the back and place point A at point L, with the backseam on 
line L, M. The amount added fiom ^ to 4 projects beyond X, as shown by 
the broken lines. 

Pivot the back at 13 and swing up the top until point 4 touches the line 
K L, as at the small dot above L. 

In this position mark across the shouldei". Tliis adds the other half inch 
to make up the difference between the lo^ver and upper shoulder, as from 14 
to 15. Point 16 is ^ breast from C. 

Shape the gauge for short rolls to \ or f inch above 16. 

Shape shoulder seam, reducing \ inch at scye, I'aising |^ at 17 and hollow- 
ing a tritie at 18. 

Shape scye to pass through ^and f inch below the breast line. 

Shape front as represented, taking out a small F at 1 6. 

For an extra erect, or sway back figure, the back should be hollowed all 
the way frou] 4 to 5 as represented by the wider line, instead of shaped as 
shown in Diagram B. This adds a trifle to forepart from 15 to 18. 



Four Button Cutaway. 

DlAGRAJ[ F. 

The measures by which this draft ^vas produced are as follows : 
16| nat. waist. 



184 fash, waist. 



24i upper shoulder. 

22 balance. 

25 lower shoulder. 



35 bi'east. 
31 waist. 
33 hip. 



These measures indicate high square shoulders, and we have noted with 
the order^ \ve will suppose, that the customer is round shouldered. 

The draft is made by the lower shoulder, 25, using, of course, half of 
it, 12i 

Having established the shoulder points by this measure as usual, apply 
half of the uj)per shoulder, 12^, to point A and measure toward D the balance 



MADISON'S COAT SYSTEM. 




MADISON'S COAT SYSTEM. 



measure as to B, and add If as to C. Whatever the draft measure between 
(7 and D is to be taken out between ^and F, in this case 2\ inches. 

As the form for which we ai'e drafting is stooping, or round shouldered, 
we make the following changes : From 1 to 2 is \ inch for an extreme, f for 
an average, and \ for a slightly stooping foi'm We will call it ^ inch. 

Draw a line from 2 to 5 and square by it up to 4. Squai'e by this line, 
to point 6. This raises the neck as from 3 to 4, and thi-ows it forward at 4. 

From 4 to 7 is 3 inches and 7 to 8 is | inch. 

Now as the upper shoulder is ^ inch smaller than the lower, we must 
reduce \ inch from 4 and 8, as shown by the solid lines. 

Cut out the back and place 4 at G, with the backseam, 4, 2 resting on 
line G, H. Pivot at /and swing down until actual top touches the shoulder 
line. This shortens the front shoulder \ inch fi'om L to M, which together 
with the i inch reduced from 4 makes the half inch required by the upi)er 
shoulder, which is 24| inches, or ^ inch smaller than the lower. 

The student will understand that unless the form measured is decidedly 
stooping the back is to be finished in the usual way, as fully illustrated by 
Diagram D and accompanying explanations. 



Double Breasted Frock for Fat Man. 

DiAGKAM G. 

The measures by which this draft was produced are as follows ; 



17^ natural waist. 
19^ fashionable waist. 



28^ upper shoulder. 42 breast. 

26 balance. 45 waist. 

29 lower shoulder. 

We draft by half of the lower shoulder, 14^. Square lines A, O, and A, 0, 

Place the square so that 14| on one arm touches at A, while 14^ of the 
other touches at C. 

[Note. — If the short arm of the square is not long enough, first place 12 
at A and 12 at top line, then mark along the edge from A only. Having 
done this, extend the line and mark from ^ to ^ the required size, in this 
case ]4i, after which square up from B by the line A, B. B to C must then 
be the same as from B to AJ\ 

Square across through B by the back line as from D to F. 



24 MADISON'S COAT SYSTEM. 



G. 



D to .E'is lialf breast, 21, and E io Eis 2 inches. 

G is half way between A and D. Square acioss from G 

/is on a line with points C'and If. t7 is i inch less than half of lower 
shoulder from /, that is 14 inches. Square up from J hy I. 

K'ls half of lower shoulder from tf. Square from Khj point JB. 

L\s,\ lower shoulder, or one half of 14i, that is 7| ; add 1^ inches to M 
and square up. 

^ to 5 is 3 inches and 5 to 3 is f inch. 

Now as the upper shoulder is i inch less than the lower, \ve reduce half 
that amount, \ inch, fi'om A to 2 and from 3 to 4. In shaping the top of 
back, while we preserve tins curve provided by points A and 3, we make it 
wider because of the large size of customer. This has nothing to do with 
the fit. It is only a matter of taste. 

From 2 to Nia natural and 2 to 6> is fashionable waist. Square across 
from JVand 0. 

Apply half of upper shoulder, 14, to point J, and measure toward iVas 
to R, the balance measure 26, and add If inches to P. The amount between 
P and i\^is to be taken out between /S'and T- 

Shape the back, making the width as 8 greater, of course, than for 
smaller sizes. 

8 io T is the same as R to N. 

Shape sideseam of sidebody, reducing a seam at breast line. 

Get length to 6 by the back. 

Square down from h inch l)eyoud B, and spring sidebody and forepart to 
lap I to f inch at 7 and a trifle at U. As the waist is not smaller than the 
breast, nothing is to come out under the arm. 

Shape bottom of sidebody as represented. 

Measure from N to 8, and from Tio V, half the waist, 22^ ; add 1^ 
inches from V to W. 

Line 8, 8 is squared across 1 inch below point 6. 

Point 9 is ^ bi'east from O. 

Cut out the back and place point A at point A with the back seam rest- 
ing on line IT, 1. Now ])ivot at 10 and swing down the top of back until 
point 2 touches the line It, J, as at X. While the back is in this position, 
mark along the shoulder seam and make a point at front shoulder. Cut down 
the back from A to 2. Reduce shoulder at 10 fromf to \ inch, and shape as 
represented to neck. Form goi-ge and scye. 



MADISON'S COAT SYSTEM. 25 



Shape the front, commencing at d, hollowing a trifle to I inch in 
advance of ^and rounding over the belly through W. If the waist were not 
so large the breast might be made sti'aigbt or with a slight outward curve 
fi'om 9 through the i inch point and W, but for so large a size it must be 
shaped as represented. Shape the bottom as illustrated, taking out a V ^ 
incli wide at mouth. 

From 9 to 12 is If inches. Shape the lapel with a round to correspond 
with that of forepart, to touch at W, and to show a small opening below W 
at bottom. Make the lapel a trifle wider than for average sizes, say 2^ at top 
and bottom and 3|- at breast. 

To finish foi' a Four Buttoner, add 1^ inches from i^and W, and shape 
as shown by dotted solid line. 

To finish for a One Buttoner, add 1^ to F, and shape as shown by crossed 
lines, giving a little extra size opposite the closing button. 



26 



MADISON'S COAT SYSTEM. 



Full Dress Coat. 

Diagram H. 
The measures used for this draft are as follows : 



17J natural waist. 
18f fashionable waist. 



25 upper shoulder. 

'22| balance. 

24i^ lower shoulder. 



36 breast. 
30 waist. 
33 hip. 



Commence by squaring lines A, C iind A, R. 

Place 12| of one arm of Squai-e at A with 12^ of the other arm, touch- 
ing the top line as at 6", and mark from ^ to ^ and.^ to C. 

Square across through B as from D. D to E is half breast and E to F 
is 2 inches. G is half way between A and D. Square across fi'om G. 

I is on a line with O and II and t/ is i inch less than half of lower 
shoulder from I^ or llf inches. 

Square up from tT" by point Z JioK'is, half of lower shoulder, 12^. 
Square from -ff'by point £, as line K,L. 

M\^\oi lower shoulder, or half of 12|, that is 6^ inches from D; add 
\\ inches from Mto iVand square up from N. 

As the upper shoulder is \ inch larger than the lower, the top of back is 
raised half that amount, \ inch, above A, as to 1. 

^ to 6> is 3 inches. Square up from f inch and add as much more as 
has been added from -4 to 1. 

From 1 to P is natural and to R fashionable waist. 

Shape the back, raising not more tlian \\ inch above the notch and com- 
mencing the sideseam f inch below. Of course these directions are not 
essential to fit, and the width of back scye may be increased or diminished to 
taste or style. Give the sideseam a moderate curve, and make the width to 
2, say If inches. 

Apply half of upper shoulder to point J and measure toward P the 
balance, 22f, as to S. From S io Tis \\ inches, a quarrer of an inch less 
than for any other kind of coat. Whatever is over from Tto P is to come 
out between the back and sidebody. TJ to F'is, therefore, the same as :Z'to 
P, in this instance 2| inches. 

Shape sideseam of sidebody through F, reducing a seam at the breast line. 

Sweep from 2 to 3 by top of sideseam. 

Square down from \ inch in advance of B, and takeout between 5 and 4 
a quarter of an inch for each inch the waist is smaller than the breast. For 
this draft the waist is 6 inches smaller, therefore, | or 1^ inches have to be 



28 MADISON'S COAT SYSTEM. 



taken out. Sli:i[)e inulei'aiin cut, as represented, through 4 antl 5, and shape 
bottom from 3 to 6 raising it at 6 a trit^e above the natural waist line. 

Square line 7, 7 one inch lower than point 3. 

Measure from i? to 2, from 8 to 6 and from 8 to 9 the half of hip measure, 
16^ and 2 inches. Draw a line from 9 to i^ and from F to C. 

C to 10 is I breast. Commence at 10 and form front as for a double 
breasted frock, swelling i inch beyond F and finishing at point 9, as shown 
by the dotted line. 

The dotted line I'epresents the center of the body in front from neck to 
waist. Now, as the full dress coat is usually designed to just meet at the end 
of roll, we add beyond this line 1 inch to the point where we intend the roll 
to end as to 11. This inch is added partly to make up for the lapel seam and 
partly to allow for the tendency of the fronts to swing, because of their weight. 

Cut out the back and place point A on point /l^ with the backseam resting 
on the squared line K, L. Pivot the back at 12 and swing the top up until 
point 1 touches the line J, K, as at 13. Mark along the shoulder seam and 
form gorge to 10. Reduce \ inch at 12, raise i at 14, and hollow a trifle 
between 14 and neck. Shape the scye through tT^and B, dropping f below the 
breast line. 

Draw a line from \ inch in advance of shoulder point to point 11. 

Shape from 11 down through 9, or cut the front away more or less as 
style demands or taste dictates. From 10 to 15 is 2^ inches. Shape lapel 
seam from 15 with a slight curve to the bottom, making it U inches wide 
from 9, and dropping below the waistseam U inches. Shape top, making it 
say If inches wide, as to 17. From 17 curve gracefully to 11 

Now commence at 10 and shape front of forepart to touch the lapel 
seam at midwaist, 18, reducing \ inch or more at waistseam.^ 

Space holes on lapel, and also on button line, \vhich is 1^ inches back 
at top and \\ at bottom. 

Take out a medium sized F to 21, unless the customer is flat chested. 

SACKS. 

DiAGEAM I. 

The measures for this draft are as follows : 



26 upper shoulder. 38 breast. 

^„.. „. 26 lower shoulder." 

The "waist measure is of no consequence unless it is as large or larger 
than the breast. 



I7i nat. waist. 
29i full length. 



MADISON'S COAT SYSTEM. 



29 




30 MADISON'S COAT SYSTEM. 



As half the lower shoulder is 13, we use 13 as the working power of 
the draft. 

Commence by squaring lines yl, 6^ and A, JJ. 

Place 13 of one arm of the square at A with 13 of the other arm touch- 
ing the top line as at (7, and mark from A to B and B io O. 

Square across through B as from D. 

Dio Eh half breast, ^to i^is 2 and i^to Gh \\ inches. 

Square down from G. G to If is 12 inches and H to I is 1 inch. 

Draw a line from G through /for run of front. 

^Tis half way between A and D. Square across from J. A' is on a line 
with points (7 and B. 

IT to M is 12i inches, or h inch less than 13, half of lower shoidder. 

Square up from Mhy point K. M to A^is 13, half of lower shoulder. 

Square from AT" by B, as line N, O. 

D to P is 6i, half of 13, that is \ of 26, the lower shoulder measure ; 
add 1^ inches from P to R and square up from R. 

J. to T is natural waist, 17i, and to Z7 full length, 29^ inches, with \ 
added for making, if edges are to be stitched. 

Square across from''/ and fZ; Tto F is | inch and to W \ inch less 
than ^ breast. Shape back as represented. W to Y is If inches. Shape 
the sideseam of forepart. 

Cut out the back and place point A on point A'with backseam resting on 
line A^ 0, and shape shoulde;-, scye and gorge as represented, in the usual way. 

The gorge is usually raised \ inch or more above the eighth point. 

Take out a small V at neck and finish front as shown l)y solid line. 

To locate the front of side pocket, go forward \ breast from itfand 
square down. Take out J inch under the arm. 

The broken lines represent a double breasted sack. For this coat the 
gorge is sunk to the \ point, a \ inch V is tnkeii out and the lapel at top 
peaked or shaped as desired ; 3 inches are added fi'ora i^to 1. From 1 a line 
is squared down 1 2 inches as to 2, and 2 to 3 is 1 inch. Draw a line, for 
run of front, from 1 down through 3 and finish frx)nt to top of lapel. The 
buttons are set half as far back of F as 1 is in advance of it. F to \ being 
3 inches F to buttons is li which places them 4i inches back from 1. 



To Apply the Balance Measure. 

Diagram K. 
The measures foi' th. sack represented by the solid lines are as follows : 



17 nat. waist. 
29 length. 



Draft by 12i 



25 upper shoulder. 

22.\ balance. 

25 lower shoulder. 



36 breast. 



32 MADISON'S COAT SYSTEM. 



All points not marked by letters are obtained as for Diagram I. 

Apply 12^, half of upper shouldei' to point A and measure toward the 
natural waist as to H / add 2 inches, ^ inch more than for a frock, to C. 
Whatever is ovei' from C to U, is to come out between 1 and 2, and what- 
ever comes out between 1 and 2 more than the average^ If, is to be added 
from 3 to 4. 

Cut out the back, pivot it at top of sideseara and swing in the bottom 
until the sideseam at waist is but If inches from 1 as to £J, and shape side- 
seam of forepart through 1 to meet the back at I'Z 

The measures for the draft represented by the broken lines are the 
same as for the other, except that the balance is 235. 

Apply 12A, half of lower shoulder to A, and measure to G 23^, the 
balance ; add 2 inches to H, and take out from 2 to / whatever the amount 
is from jSTto I), reducing from 3 to * in front, whatever 2 to /is less than If 
inches. 

Cut out the back, pivot it at top of sideseam and swing it t)ut at bottom 
until there is a space of If inches between it and point /as /, li. While it 
is in this position shape sideseam of forepart to /. 



Fat Man's Sack. 

Diagram L. 
The m(!asures by which this draft was produced are as follows 



IS waist. 
31 leny-th. 



a' 



29 upper shoulder. 
29 lower shoulder. 



43 breast. 
46 waist. 



All the points not lettered are obtained as heretofore explained. 

From A to ^ is If. Square down from C, as usual 12 inches and go 
out from JJ one inch to M 

Draw a line from (7 to _£! 

Points £ and /^are for all sizes when the waist is smaller than the breast. 

Now measure from G to A, apply this amount to /'and measure back 
the waist size, 23, as to H, add for making 2| inches as to / This is 1 inch 
less than is added to the bi'eust, as from K to O. If more were added from 
K, as for a fly front or a double breasted coat, or less as for a military frock 
less would be added from B to / 

The simple, invariahle rule is to add for makmg 1 inch less to the waist 
than to the hreast for fat men. 

As the necessaiy addition is to I, the sideseam if cut through B Avould 
make the waist too small by as much as the difference between B and / 
It is therefore necessary to add from B to J/ half the amount needed, and to 
add the other half from /^ to /. 

To make this clearer, if the waist were cut through the resnlfir points B 
and F, it would be too small. Half of the needed addition is made from B 



MADISON'S COAT SYSTEM. 



33 




34 MADISON'S COAT SYSTEM. 



to M, and the other half fi'oin L to F. When tliis is done, the draft will 
measure fi'om 6^ to ^ and M io L 25| inches, or half waist with 2i inches 
foi- making. The sideseam must be sprung over the back as much or a 
little more than has been added from B to M. 

To shape the front draw a line from L down pai-allel with the oiiginal 
line 0, E, another from L io C, and another from C to \\ inches beyond R. 
This completely outlines the front. 

After cutting the pattern cut down under ai-m, as from N to O, and 
open out at N as much as has been added from B to 31, pinching up and 
pressing down the loose paper thrown to P. Then reshajie the bottom. 

A complete illustration of this process is given farther on. 



OVERCOATS. 

Diagram M. 

All overcoats should be drafted by measures taken over an undercoat, 
but when only the measure for an undercoat is available the following addi- 
tions must be made. 

For heav)^ material 2 inches to the shoulder, breast and waist measures, 
and 1 inch to the end sleeve length. 

For light weight material 1^ inches to the shoulder and f inch to sleeve 
length. 

The measures by which this draft was made aie as follows taken over a coat. 



27 upper shoulder. 
27 lower shouldei'. 



38i breast. 



17f nat. waist. 
38 length. 

The waist is of no consequence unless it is as large or larger tlian the 
breast. All points not lettered are obtained in the usual way. Point ^1 is 
half breast. ^ to ^ is 2i inches and is the same for all overcoats. 

B to 6^ is 2^ inches for heavy weight goods if bound and 2\ if stitched ; 
If for light weight material if bound or 2 inches if stitched. On this draft 
^ to (7 is 2^ inches. 

C to I) k 12 and J) to ^is 1 inch as usual. The buttons are half as far 
back from B as C\s in advance of it ; for this draft 1^ inches. 

A Double Breasted overcoat is drafted in the same way, adding, of course, 
more for the lap, from B to C^ind setting the buttons farther back. For instance, 
if 3 inches weve added from B the buttons would be set 1^ inches back of ^, 
or if 4 inches, as for a heavy Box were added to B, the buttons would be 3 
inches back of B, or 6 inches from the edge. 

The same amount. If inches, as for an undercoat is taken out at F. 

The forepart does not overlap the back unless for a loose Box. 

The pockets are 124 inclies from scye bottom for a man 5 feet Sk inches 
in height, and ^ inch lower or higher for each larger or smaller size up to 42 
and down 32, unless the client is unusually short or tall in proportion to his 
breast size. 



36 MADISON'S COAT SYSTEM. 



The Sleeve. 

Diagram N. 

The sleeve is drafted by ^ inch less than half the size of scye. In meas- 
uring the scye no allowances are to be made foi' seams. 

If the scye measure 17^, which is the regular size for a 25 shoulder ; the 
sleeve is drafted by 17. 

Commence by squaring lines A, M and A, C. 

A\,o D \% \ inch always ; D io E is ^-, and E to F '\^ \ scye. 

Square across from ff. 

Fio Z7is half of drafting size, or, for a 17 scye, 8^ inches. 

Square down from U. 

U to It IS ^ scye. 

Draw a line from A to IT. 

Sweep from A by * 

lis lA inches from A. 

Shape sleeve head as represented, sinking the underside f inch at IC. 

Get length to C and square across. 

Zi is 1| inches up, and M is 6^ inches, more or less, from L. 

Shape as represented by solid lines for a half and half sleeve. 

Ordinarily it is well to add 1 inch to top side as to iV^ and reduce the 
same as to O, making the same addition to and reduction from L. 

The broken lines represent the sleeve finished. 



38 MADISON'S COAT SYSTEM. 



Skirt for D. B. Frock. 

DiAGKAlI D. D. 

Square lines A, B and A, C 

From -4 to ^ is 9 inches. 

^ to (7 is 2 inches. 

Place sidel)0(ly to A, and mark at E. 

Place fore part to E, with the line squared across from fashionable 
waist exactly covering the line A, C, and mark along bottom to F. 

Place lapel in a closing position and mark along the bottom to H. 

Square down through H. 

Curve gracefully from A through C to D. 

Get length to D, allowing I inch for fullness, and make H^ G \ inch less 
than A, D. 

Finish as represented. 



40 MADISON'S COAT SYSTEM. 



Skirt for Cutaway Frocks. 

DiAGKAM E. E. 

Square lines at A. B and A, O. 
vl to ^ is 9 inches. 
^ to (7 is 2 inches. 
Curve gracefully from A through C. 
Place sidebody to A and mark at E. 

Place forepai't to E with the fashionable waist line exactly covering 
line A, O, and mark along bottom to the V, then drop to i''^ inch. 
Finish as represented. 



42 .MADISON'S COAT SYSTEM. 



Skirt for Full Dress Coat. 

Diagram F. F. 

Square lines A, B anil A^ O. 

Place sidebody to A and make a point at E. 

Place forepart to JE, with the fashionable waisf line exactly covering 
line 0, A^ and drop skirt 1 inch at F. 

JF to JI \s width of lapel below waistseara, usually \\ inches, and must 
range with run of front of forepart when in a closing position. 

^ to ^ is y and £ to Cis 2 inches. 

Get length to Jf and draw a line for bottom parallel with run of top. 

Measure from A to E, and whatever the distance is use it as a working 
power. 

If it is 16, then ^ to / is 16 on thirds, and /to X is 16 on twelfths; M 
to iVis 16 on thirds, and iVto ^ is 16 on twelfths. 

Draw a line from X to H, and shape as represented. 



44 MADISON'S COAT SYSTEM. 



Collars, 

Plate M M. 

Diagram A shows a collar for a double breasted liigh roll frock, and is 
drafted as follows : Place the lapel in a closing position, as shown, and draw 
the break line to opposite the end of hole from point 1, which is \ inch in 
front of shoulder point. Make point 2 a quarter of an inch back of shoulder 
point, and draw crease line of collar from point 3 through point 2. Make the 
stand 1^ inches deep. Get length and finish as represented. If it is desired 
to have no space between the collar and lapel, the collar must be made to 
overlap, as shown. For overcoats draft in the same manner, giving the 
stand a depth of If inches. 

Diagram B shows a collar for a low roll double breasted frock, and is 
drafted as follows : Place the lapel in a closing position opposite the point of 
roll, and make point 1 a quarter of an inch in front of shoulder point. Draw 
a line from 1 to 2. Make point 3 a quarter of an inch back of the shoulder 
point, and draw the crease line for the collar from 4 through 3. Shape as 
represented. It will be seen that the collar is more crooked than for Dia- 
gram A. 

Diagram C shows a collar for a short roll, either for a single breasted 
frock or sack. As it is drafted in precisely the same mannei' as already 
described, no explanations are necessary. 

Diagram D shows a collar for a fat man. The break from 1 to 2 is 
obtained as explained above ; but the crease line of collar is considerably 
curved from 1 through 3 to 4. The stand is only f inch deep, and the seam 
edge is concave from 5 to center. It is formed in this way for the purpose 
of throwing extra goods to crease line. 

Diagram E shows a Prussian or Military "collar. It is made to follow 
the gorge from 1 to 2, and is evenly curved from 1 to center. The stand is 
1| inches, as usual. The leaf is made any width desired 

Diagram F shows a stand up collar. It is usually about H inches wide 

in front, and 1^ at the back. It is hollowed a trifle at 1, and rounded a little 

at 2. 

Diagram G shows a wide collar for an over coat. It is drafted to fit the 
gorge from 1 to 2, and from 2 to 4 it is considerably hollowed. It is well 
spi'ung out from 5 to 6. This form throws sufficient goods to the outside 
edge to allow it to lie smoothly about the shoulders. 



46 MADISON'S COAT SYSTEM. 



Fat Man's Sack. 

Diagram B E. 

Aftei" cutting out the fore pai't foi' a fat man's sack, proceed as follows : 
Cut down from A to J3, and open the cut from A to C \ inch for each inch 
the waist is lai'ger than the breast. This, of course, throws surplus papei' to 
the bottom, as at L. Press this down flat and i-e-forni the l)ottom as shown. 

jE and H mei'ely indicate a fourth of the excess of waist over the breast, 
or the amount to open the V from A to C. 

The V marked may either be cut out, or left as an outlet. 

This i^rovides a pocket for the belly, without any manipulation on tiie 
part of the journeyman. 



48 MADISON'S COAT SYSTEM. 



PROPORTIONATE SIZES. 



BREAST. 

28 
29 
30 
31 
32 
33 
34 
35 
36 
37 
38 
39 
40 
• 41 
42 
43 
44 
45 
46 
47 
48 
49 
50 



PPER SHOULDER. 


LOWER SHOULDER 


20 


20 


20i 


20f 


2U 


21i 


22i 


22i 


23 


23 


23f 


23f 


24i 


24i 


25 


24i 


25^ 


25 


26 


25A 


26i 


26 


27 


26^ 


27i 


27 


28 


271 


28i 


28^ 


29 


29 


80 


30 


'm 


31 


31 


3U 


3U 


32 


32 


32i 


32i 


33 


32i 


33i 



MADISON'S 



VEST SYSTEM. 



50 MADISON'S VEST SYSTEM. 



VESTS. 

Plate Y. 

Diagram 1. — The measures used for this draft are as follows . 

10^ opening. | 36 breast. 
25i lensrth. 32 waist. 

The opening is obtained by measuring from socket bone to bottom, 
holding the tape fast at the length desired and carrying it straight up to the 
point Vi'here the opening is desired to be. 

Commence by squaring lines A, E, and A, C. 

From A to B is \ breast on Division of Halves and to O is natural 
waist. Squai'e aci'oss from B and C. 

From A to D is half breast on Division of Halves and 1 inch, that is 10 
inches, and ^4. to ^is half breast, 18 and 2 inches, 20 altogether. 

Square down from D and E and also from a point f inch beyond E. 
(The f inch is for button stand.) 

^to i^'is ^ breast. D to Wis, \ breast. /to /Tis \ breast, square \x\> 
from H. 

From ^to Z is half waist on Division of Halves and | inch, 8i inches 
altogether. 

Measure from i»^to J/ and apply the amount from C to N on back. 

Square aci'oss from N. JSf io \9, \ breast. 

Apply the width fi'om iV to O to point F and measure the length and 
f inch to P. Hold the tape fast at P and mark of the opening at P. lOi. 

Draw a line from frojit of scye up through F. 

Fto S is width of top of back, ^ breast. 

S to t/is |. Square out from J ; J io U \s \. Add f inch from U, and 
draw front lines fi'om U and the f inch point as shown by broken lines. 

The bi'oken line from Fto U is for a clerical or military, or any vest 
which closes to the throat. Draw break line from Fto P and form the neck. 

From W to 1" is ^ breast. 

Shape forepart as represented, reducing shoulder | to 1 inch from I'F, 
and dropping the scye f inch below point I. 

TF to 1 is 1 inch. Shape from 6) to 1 as represented. 

Commence top of back f inch below iV^and shape to O. 

Reduce from A a trifle, say a seam and shape back scam, as shown, 
reducing ^ inch from Cto 2. 

From 2 to 3 is half waist on Division of Halves and 3 to 4 is ^ inch. 

Obtain width of shoulder by the shoulder of forepart making it \ 
inch wider and shape scye as represented, 



MADISON'S VEST SYSTEM. 



51 




52 MADISON'S VEST SYSTEM. 



To Draft the Forepart Separately. 

Diagram 2. — Square lines A, E and A^ JR. 

From ^ to ^ is ■!• and to C \ breast by the Division on the square. 
From ^ to 7? is i breast and 1 inch, and D to ^is f inch. 
From i> to i^ is {. Square across from C and square down from D and E 
(7 to 6*^ is I breast, square up from G. 

Apply the width from 6' to G (which is the same as that of top of back), 
to F and obtain length and opening. Square across from and go up to R ^. 
P is ^ inch more than half waist on Division of Halves from button line. 
For a no collar vest add \ inch beyond E, and make F, S \. 
Shape as represented. 



To Draft the Back Separately. 

Diagram 3. — Square lines A, B and B, C. Place the forepart to touch 
on line^, C\ with the top of underarm seam touching the line A, B while 
the cross lines are square with the same line. The dotted forepart shows 
the position. 

Make a point at D, and another at E. 

Pivot forepart at shoulder point, F, and fswing it toward you at the 
bottom until the smallest part of waist, marked with a * rests on the line A, 
B, then pivot at Tf'^and swing forepart toward you until point i'' touches the 
line A, B, and make a point as at * A. 

Remove forepart and square across from A, E and D. 

A to H is \, and ^ to / is ^ and 1 inch. Square down from I. I to K 
is one 1 inch always. 

Drop top of back f inch below A and shape to H. Shape from H to 
K as represented and get width to L by forepait. Shape scye from L to M 
as represented. Shape backseam reducing A inch from W to N. N to O is 
^ waist and O to P ^ inch. Finish as represented. 



54 MADISON'S VEST SYSTEM. 



Fat Man's Vest. 

Diagram 4. — This draft is for a 44 breast and a 48 waist. 

Draft as usual with the following exceptions: 

^ to ^ is ^ breast and 1 inch, and B to ^'is f inch for button stand. 

Z> is 18 inches from W. Of course D is theoretically the natural waist, 
but as a rule 18 inches is ^jractically light. 

6' to E\s \ breast, square down from E. 

F to N\^ \ waist and jYto ^is J inch foi' button stand. 

i^ to 7 is ^ waist and / to ^ is i inch. 

Shape as repi'esented. Keeping the bottom of scye at ^1 instead of 
sinking it lower as for proportionate forms. 



Double Breasted Vests. 

Diagram Z. — Clotain points as usual, except that | inch is not added 
for button stand. 

A to jg is 4 inches. A to Cis 3;^ inches. A to F'la H inches. D to F 
is U inches. Z> toi'^is 1| inches. 

Draw lines from B to ^for run of front, and from F to F for button 
line. Curve front as represented through C. 

Three styles are represented in this draft. The plain rolling collar, the 
no collar and regular coat front foi'ui. 



tLEMENTS OF iARMENT iUTTING 



CHAPTER I 



PKIKCIPLES OF CUTTING. 
Coats. — Pitch of Shoulder. 

To treat upon the principles which govern the science of garment cutting 
apart from their relation to any system is a task of no ordinary magnitude. 

But an iinderstanding of these principles is indispensable to any one 
who would become an eminent cuttei\ There are many who manage to hold 
fair jiositions who are simply machines. They owe their success entirely to 
some tolerably correct system which they follow almost blindly. These men, 
were they to acquaint themselves with the great truths which lie back of the 
system which serves them so well, would be able to handle it with far better 
success, for they could correct its faults, or intelligently elaborate it, and 
would be able to advance to a higher grade in the profession they have 
chosen. 

To enable others to better understand what they are doing, in order that 
they may work more intelligently, it shall be my endeavor to illustrate and 
explain the fundamental principles of garment cutting as clearly and con- 
cisely as possible. 

Works on logic are addressed to, and are understood by, only those who 
liave a knowledge of grammar, so the language and method of this work will 
be adaptable only to those ^vho have, at least, a rudimental knowledge of 
cutting. 

The technical terms and axioms of the craft employed in this woi-k will 
not, therefore, be explained. 

I now invite your cai-eful attentii^n to the principles which govern coat 
cuttino^. 

First in order are those which govern ^vhat is generally known as the 
shoulder point. 

This point is regarded as the key to the whole coat. 

Almost any cutter will assert that if that point is established, he can di-aft 
his coat correctly. 

The delusvon concerning this m;itter is remarkable, and I expect that Avlien 
I assert that there is no possiljility of failing to establish it, many will be, at 
first, disposed to doubt my sanity. 



56 



ELEMENTS OF GARMENT CUTTING. 



Yet, I do assiM't it to l>e n fact, that this point is always the same for 
every sliajie. I fiirtlier assert that, as it is generally umlerstood, it is no point 
at all. 

Let nie demonstrate this. 

Take a piece of cloth of an oblong shape, place it about your shoulders, 
cut it to fit the neck smoothly, and you Avill find it to be shaped as represented 
in diagram 1. 




Diagram 1. 



Now place it about the shoidders of any shaped man, and you ^vill find 
that it will always fit. [In the center of the back there -will be found too 




Diagram 2. 



much cloth for sloping and too little for higli shoulders, Avhich fact, however, 
does not affect my proposition.] 



ELEMENTS OF GARMENT CUTTING. 



57 



It makes a pei-fect shoulder, and is, you Avill oliserve, a solid piece of cloth. 
The so-called sliouldei- point is established, and is the same for e\'ery shape. 

This is the foundation of a coat. 

Now if }'<)u cut the cloth so as to fit aliout the aims you \\ill have the 
foi-m of the upper portion of a coat, as in diagram 2. 

You ^vill now he aide to perceive the fallacy of the woidd-he learned 
talk al)oiit the diiferent pitch of the shoulder, for various shapes. The pitch 
is always the same. 




Diagram 3. 



To illnstrate : suppose that the above diagram will fit about the neck 
and shoulders of a well-shaped man. 



58 



ELEMENTS OF GAIIMENT CUTTING. 



Now most cutters, if the client be extru erect, Avuiild change the shuuklei 
iis indicated by dotted lines 

The coat would tit, and they argue from tliis fact, tliat a change in the 
pitch of the shoulder has effected this desirable result. But they are mis- 
taken. They have only placed more cloth upon the breast and taken a like 
amount from the back. 




Diagram 4. 



This fact will lie evident if you allow your back' to remain stationary 
while you move your forepart forward to fit it. You Avill have then tlie result 
r hav(^ indicated in diagram 4. 

The dotted lines represent the fii'st position of the forepart. 



ELEMENTS OF GARMENT CUTTING. 



59 



The shoulder is absohitel}'- unchanged, yet the two coats will only fit dif 
ferent shapes. 

Now let us examine the other extreme. 

The dark lines in diagram 5 I'epresent a di'aft iov a Avell-shaped man. Tlie 
dotted lines i'epresent the change usually made for stooping shuiildeivs. 




7lfM«*/ 5. 



By mo^nng the forepart, as Vie.fore to fit the back, you will discover that 
there has been no change made in the draft, except so far as affects the bi'east. 



60 



ELEMENTS OF GARMENT CUTTING. 



Diiigram 6 represents the forepart changed in its position. 

The dotted lines show the <>ul\' chansje made in the front of coat. 




Diagram 6. 



You will also observe that what is commonly called the shoulder point 
has no I'eal existence, hy omitting the shoidder seam, which leaves you aii 
uncut piece of cloth as represented iu diagram 7. 



ELEMENTS OF GARMENT CUTTING. 



61 



Yoii can place the seam wherever you choose, as style or taste juay die 
ate, without ali'ecting the ht. 




Diagram 7. 



r think every intelligent, candid cutter must admit after this demonstra- 
tion, that there is no shouldei- point, or, more pro[)ei'ly, that the neck, Avhere 
the shoulder point is supposed to l)e, and the sliape and direction of sye, 
must invariably be the same, howevei' the body U> be fitted may be shaped. 



62 



ELEMENTS OF GARMENT CUTTING. 



From these facts I dcnliR-e the following principle : If a certain iihouldei 
is rujJdfor one liluqje, it iiui-st he right for every aluim 
lUustratiou — 




Diagram 8. 

The (laik line represents a draft tliat Avill fit one shape; place it upon a 
more sloping-shonhlered man and you will find it necessary to cut from tlu 
back seam as indicated l)y bioken lines. 

Place upon a higlier-sliouldered man, and (he change indicated by dotted 
line AV'ill be necessary. 

But these changes do not afi'ect the pitch, as it is called. 

Application of Pkinciplk. If drafting for two men of different shapes, 
let the pitch of shoiddci- In- tlic same for each. The reason for this will l)e 
apparent upon an examination of diagram 9. 



ELEMENTS OF GARMENT CUTTING. 



63 



[It -will be observed tliat in previous dlagi-anis the pitch of slioulder is 
not really changed, but in diagram 9 the change is actutd the shoulder i.u 
front of arm converging, in both drafts, to same point.] 




Diagram 9. 

The dark lines represent a draft for an erect man ; the dotted lines repre- 
sent the shoulder as it is generally pitched for stooping shoulders. 

That this actual change of pitch cannot be coirect will be evident from a 
study of diagram 10, which represents the shoulders of both drafts fitted to 
the back. 

The dotted lines, as before, represent the di-aft foi- one who stoops. 



64 



ELEMENTS OF GARMENT CUTTING. 



Now it is a self-evident propositiou that the stooping form requires les3 
cloth iu front of arm than the erect, but the change of pitch has reversed this 




Diagram 10. 



and given to the stooping form more cl<.th in front of ann than the other 
draft for the erect man gives, which must of necessity be wTong 

1 think I have succeeded in establishing, in this connection, an ii-refutable 
and immutable law, which I now give. 

Law. The pitch of shoulder nimt he the mme for every farm. 



ELEMENTS OF GARMENT CUTTING. 65 



CHAPTER II. 



DISTEIBUTION OF CLOTH IN FRONT AND BACK OF SYE. 

That the arm-hcle should Ije farther to the front for one who is round- 
shouldered, than for a straight man, eveiy cutter knows ; but the placing of 
the sye in a different position for different shapes, is in perfect harmony with 
the law I have given in regard to the pitch of shoulders. 

It may suggest itself to some thinkers that this cannot be the truth, for 
the reason that the distance from the front of sye to socket-bone is less for a 
round-shouldered than for an erect man, and that, therefore, the spread of 
cloth between these points should be less for one than for the other, and they 
may conclude fi'om this that my theory is incorrect. 

But my reasoning is based upon shoulder-measures, and their application 
to the di-aft; whether they are long or short measures, does not affect, in the 
least, the slope or pitch of shoulder. 

This will be better understood upon an examination of diagram 11-. 
The dark lines represent a draft for an erect, and the broken lines for a 
round-shouldered man. 

From a casual study of this diagram, one would naturally be impressed 
with the belief that the shoulders were differently pitched, but they are not. 

The breast and upper shoulder of the two subjects are the same, but one 
is larger over the blade and flatter in the breast than the other, and his head 
is farther forward. 

"We draft, of course, from the back seam. The waist being the same for 
each, the coat remains stationary at the waist point ; but the blade being larger 
for one than the other, throws front of sye farther to the front, draws in the 
top of sidebody, lowers and throws forward the socket-point, depresses the 
neck, and narrows the breast. 



66 



ELEMENTS OF GARIVIENT CUTTING. 



Yet the shape and pitch of shoulder is unchanged. 

There is merely more cloth distiibuted back of the sye, and less in front 
for the stooping than for the erect man. 




Diagram 11. 



ELEMENTS OP GARMENT CUTTING. 



Diagi-am 12 represents the two foreparts fitted together. 
The shoulders are alike, but the coat is differently balanced. The blade 
of one is larger than the other, the shoulders of both are of th& same width 




Diagram 12. 

and pitch, the distance from soctet-bone to front of sye on the one is compar- 
atively less than on the other, because the distance from fi-ont of sye to the 
back is actually more. 

The distribution of the extra cloth over the blade without disturbing 
the shoulder may be more plainly understood by an examination of diagrams 
13 and 14. 



6fi 



ELEMENTS OF GARMENT CUTTING. 



Diagram 13 represents a well-proportioned coat, and diagram 14 tlie same, 
with an imagiuaiy " fish " iuseitetl under the aiTa to give the necessary size to 




Diagram 13. 

blade, and the top of sidebody cut down to preserve the shoulder measure, and 
the fi'ont as much narrower as blade is larger. 

From these facts I deduce the following pi-inciple : 

The coat for a stooping man slunild he drafted precmly as one for a well- 
shaped man, toith this exception : tlie coat for tlie stooping i)um shoidd he lyiade 
as much larger hccch of' tlhe sye and over tlie Made as the size of Made requires. 



ELEMENTS OF GARMENT CUTTING. 



69 




Diagram 14. 



Diagram 15 is an illustration of this principle: 

The dark lines represent a draft for a ^vell-proportioned man; thel)roken 
lines rejiresent the sidebody moved from the forepart to make the blade-meas- 
ure prove ; the dotted lines connect the roimd over the blade Avith the top of 
blade-j^oint, -which must not be changed from the position it occupies for a 
well-propoitioned man, the shoulder-measures l)eing- e(pial. 

Application : The sIioulder-7neamres heiiKj equal ^ the top of sidebody and the 
sidehody at waist for a stooping man should, he the same as for a. wellformed 
man, — fJte sidshody over the hlads should he enlarged to malm hktde-vmasure 
prove. 

Reasons : If the top of sideliody is carried out proportionately with the 
enlargement over the blade, the shoulder-measure will be too large. If the 
sidebody does not retain its position at waist the coat will not balance properly. 



70 



ELEMENTS OF GARMENT CUTTING. 



IiAW : Draft yoxr cnat haeh of the front of the sye independenthj of the 
slwulder ami front of coat, adding to or tahlng from the blade for 'row)id->ihou.l- 





Diagram 15. 



dered or flat-hacked 7ney>, -toithout cliamjing the position of jop of fiifkbody or sixls 
body at iuaist^fr<»n wlud it woM ocaapy in a well-jjroportioned draft for rnnic 
slwulder^neasurcs. 



ELEMENTS OF GARMENT CUTTING. 71 



CHAPTER III, 



BALANCE. 



There is no more intricate and no greater problem in drafting the coat 
than how to balance it. 

It is moi'e talked about and is less understood than anything else that 
puzzles the cutter's brain. 

A thousand methods have been devised to remove this great stumbling 
block to success ; some are based upon ti'ue scientific piinciples, but most ary- 
unworthy of the slightest respect. 

A measure taken from front of sye to natural waist, if applied to draft, 
with proper allowance for making up, is a tolerable safe guide ; but I incline 
more to long measures. I prefer one taken from socket-bone around front of 
arm to natural waist. This measure, taken as part of the shoulder-measures, 
so as to insure the same degree of closeness, if jiroperly applied, is iufallible. 

But the difficulty with all measures is to apply them properly. They 
cannot be applied with any consideralile degree of accurac}', fi'om the fact that- 
the s}-e of draft around which the measure passes is neither of the size nor in 
the position of the arm, around which the measure is taken. Again, the por- 
tion of draft over which the tape passes in applpug it, is not the same as that 
ovei' Avhich it passed on the man. 

There seems to me to be but one correct method, theoretically, of bal- 
ancing a coat, and that is, to place the waist according to amount of lap neces- 
sary over the blade-; that is, after establishing the blade, to pivot the top of 
side-seam of back upon the top of side-seam of sidebody, and swing in the back 
until the sidebody at blade laps the back a given amount, according to the 
relative value of the blade to the avei'age of the shoulder and balance measui'es. 

This theoiy^ ^\■ill be more thoroughly explained hereafter. 

The ignorance pi'evalent upon what constitutes balance is lamentable. 



72 



ELEMENTS OF GARMENT CUTTING. 



Probably a majority of cutters belieA-e it is governed by the position of the 
shoulder — the more a man stoops, the farther foi-ward, he holds, the shoiilder 
should be pitched, and the more erect, the straighter it should be. 

The fallacy of this I have already demonstrated by proving that the pitch 
of the shoulder should invaiiably be the same. 

There is nothing easier than to correctly balance a coat if the cutter clearly 
understands what constitutes the balance. 

The upper and the lower portions of the coat should be di-afted indepeud 
ently of each other ; that is to say, the portion of the coat above the most 
prominent part of blade and the round of breast should be di'af ted without 




Diagram 16. 



the least regard to the lower portion of the coat. The lower portion should 
be adjxisted to the upper portion so as to place a proper round over the blade 
and to lay the cloth smoothly over the hollow of back. 



ELEMENTS OF GARMENT CUTTING. 



73 



This can be better understood from an examination of diagram 16. 
A represents the upper portion of the coat drafted independently of the 
lower portion. 




Diagram 17. 

£ represents the lower adjusted to the upper portion in such manner as to 
give one-half inch lap at point over blade marked 1, ^vhich is the proper amount 
for a well-formed man. 

The side-seam of sidebody should close -with the back at waist to balance 
the gaiTuent. 

Diagram 17 represents a draft for a stooping form. The lower portion is 
adjusted to the upper portion to all()\v a lap at blade of three-quarters of an 
inch. The dotted lines represent the position the lower part occupies in 
diagram 16. 

It will be observed that the balance is diffei'ent for the two coats, and 
that the difference is effected by swinging in the back for the stooping form 



74 



ELEMENTS OF GARMENT CUTTING. 



to give tlie extra amount necessary over the blade. Tlie lower aud upper 
parts lap at the breast. 

Diagram 18 represents the other extreme. 




DiAGBAM 18. 

The dotted lines represent a draft for a well-formed man, and the dark 
lines one for an extra erect man who requires but one-quarter inch lap over 
the blade. 

The shoulders are unchanged, but the adjustment of the lower to the 
upper portion of the coat is such as to carry the waist farther out, as it should 
be to fit an extra erect fonn. 

It Avill be noticed that the upper and the lower parts do not close at the 
breast. 

[In diagrams 17 and 18 the shoulder and blade measures are supposed to 



ELEMENTS OF GARMENT CUTTING. 



75 



be tlie same for each, while the balance-measure varies in length, being shorter 
for the stooping and longer for the erect forms.] 

To show how many are led into the belief that a change of the pitch of 
shoulder regulates the balance, I introduce diagram 19. 




llIAGRAAl 19. 

The dark lines represent the coat balanced for an erect man, the dotted 
Hues for one who stoops. 

The shoulder certainly seems to be farther forward for the latter than for 
the former, and the careless student would not suppose that one shoulder would 
fit both forms; but in reality the shoulders are alike, as can be seen in 
diagram 20, which represents the shoulders fitted to each other. 

The shoulders are alike, the lower portions, however, are different. 

It must be evident to every sensible cutter, after a study of what I have 



76 



ELEMENTS OF GARMENT CUTTING. 



A\Titten, tliat the balance of the coat is governed entirely by the adjustment 
of the lower to the upper portion. 




Diagram 20. 

If I succeed in influencing those who have folloAved me so far to cease 
tinkering at the shoulder to balance the coat, I have done a good ■work. 

Any cutter can perceive the fallacy of shoulder balancing by a simple 
experiment, which I borrow from one of my father's Avorks : 

Let him make a coat of padding or some other cheap material, for a 
well-formed man. 

Let it ])e made in two parts. 

The upper part to extend doAvn to the round of the l)i'east and most 
prominent part of blade, as in A, and the lowei' portion to cover the i-est of 
body, as in J3, of diagram 16. 

Now. baste the two parts together and close the coat 



•ELEMENTS OF GARMENT CUTTING. 11 



We will suppose, of course, tliat it fits your client, that it is properly 
balanced. 

But let him round his shoulders and stoop, and the coat will kick at the 
waist. 

Now, disconnect the two parts, and lap the lower over the upper more or 
less, and the coat will come in at the waist. 

No one can be so dull as not to compi-ehend what I mean, nor so stupid, 
jfter such an expeiiment, as to deny that the adjustment of the lower to the 
up])er portion of the coat I'egulates the balance. 

From this I'easoning I deduce the following principle : The ripper portion 
of coat being correctly drafted, the balance should be obtained by swinging in 
the bach until it laps tJie sidebody at blade, the amonnt required by the differ- 
ence between the blade-measure and the average of the shoidder and balance 
measures. 

What I mean by the difference between the blade and the average 
between the shoulder and balance measures is this : For instance, there is a 
difference in the \alue a blade-measure of 21 and a blade-measure of 22 bears 
to the shoulder and balance measures. Now, if for a blade-measure of 21^, 
with a shoulder-measure of 25 and a balance-measure of 23J, the sidebody 
should lap the back half an inch, the lap should be a proportionate quantity 
greater if the blade-measure is 22 or the shoulder or balance measui'e less than 
25 or 23:^ respectively. 

By experimenting with the following table, which I have prepared after 
much study and ^vith the greatest cai'e, this important and beautiful principle 
Tiay be better understood : 



78 



ELEMENTS OF GARMENT CUTTING. 



Blade 


Shoulder 


Shoulder 


Shoulder 


Shoulder 


Shoulder 


Shoulder 


Shoulder 


>Ieasure. 


^ inch. 


i inch. 


i inch. 


i inch. 


f inch. 


i inch. 


1 inch. 


16 


19| 


18^ 


18f 


17* 


17| 


16* 


16| 


m 


19f 


m 


18f 


181 


17| 


m 


16f 


16i 


20 


19^ 


19 


18* 


18 


m 


17 


16f 


20i 


19i 


191 


18J 


181 


17f 


17i 


17 


20^ 


20 


191 


19 


18* 


18 


iH 


17i 


20^ 


20f 


19* 


19| 


18* 


18| 


17* 


IH 


21* 


201 


20* 


19^ 


19* 


18f 


18* 


17f 


2ia 


20J 


20|- 


191 


]9| 


181 


18| 


18 


21 J 


21* 


20| 


20* 


m 


19* 


18f 


18i 


21* 


21| 


201 


201 


191 


19| 


181 


18| 


221 


21f 


211 


20^ 


201 


m 


191- 


18f 


22^ 


22 


21* 


21 


20* 


20 


19* 


19 


22| 


221 


21| 


21i 


20| 


201 


m 


m 


23 


22| 


22 


21* 


21 


20* 


20 


m 


23| 


221 


22| 


211 


21f 


20* 


20| 


m 


23t 


23* 


22t 


22* 


21t 


21* 


20| 


20 


23^ 


23^ 


22* 


22| 


21* 


21a 


201 


20i 


24i 


23| 


23* 


22| 


22* 


21^ 


21* 


20i 


24i 


24 


231 


23 


22* 


■22 


21* 


20| 


24f 


24i 


23f 


231 


22J 


221 


. 21f 


*21 


25 


24i 


*24 


23* 


23 


22* 


22 


21i 


25f 


24* 


■24f 


231 


23| 


221 


22| 


21i 


25| 


251 


24f 


24* 


23| 


23* 


22f 


21J 


251 


25| 


241 


24| 


231 


23f 


22* 


22 


26i 


25f 


25* 


24a 


24* 


23| 


23* 


22:1^ 


26^ 


26 


25* 


25 


24* 


24 


23* 


22^ 


26f 


26i 


25J 


25i 


24f 


24i 


23f 


22ii 


27 


26| 


26 


25* 


25 


24* 


24 


23 


27i 


26f 


261 


25f 


25i 


24f 


24i 


23i 


27f 


27* 


26| 


26* 


251 


25* 


245- 


23.V 


271 


27| 


261 


26| 


25* 


25| 


241 


23| 


28i 


27| 


27* 


26^ 


26* 


251 


251 


24 


28| 


271 


27| 


261 


26| 


25* 


254 


24i 


28| 


28i 


27f 


27i 


26f 


261: 


25| 


24i 


29 


28i- 


28 


27* 


27 


26* 


26 


24| 


29i 


28| 


28i 


27J 


27i 


26a 


26^ 


25 


29^ 


29 


28* 


28 


27* 


27 


261 


2 5 J: 


291 


29a 


281 


28| 


271 


27f 


26* 


25i 


m 


29f 


29* 


285 


28* 


271 


27* 


25| 


30| 


291 


29f 


281 


28| 


271 


27a 


26 


30^ 


301 


29f 


291 


28t 


28* 


975. 


261 


31 


30* 


30 


29* 


29 


28* 


28 


26^ 


311 


30^ 


30^ 


29§ 


291 


28f 


28i 


2fif 


31i 


31 


30* 


30 


29* 


29 


28* 


27 


31| 


31i 


30| 


30i 


29| 


29^ 


28f 



ELEMENTS OF GARMENT CUTTING. 79 



The figures iu left-hand column represent the various blade-measnres, 
those in the other columns the various probable averages of shoulder and 
balance measures. 

Example 1st. Shoulder-measure 25, balance-measui-e 23, blade-measure 21, 
The averas;e of shoulder and balance measures is obtained thus . 
Half of shouldei'-measure, - - - - - 12^ 

Half of balance measure, • - - - - llj 

Average of the two measures, - ' • - 24 

NoAV proceed to fiud the blade-measure in the left-hand colunui. T have 
marked it thus, *. Find 24 or its closest approximate upon the same line, as 
the blade-measure, among the columns to the right of blade column, marked 
thus, * ; and looking at top of column you will see how much the sidebody 
should lap the back at Ijlade point, viz., i-inch. Pivot top of side seam of 
back on top of side seam of sidebody, and swing the back in until it laps the 
sidebody at blade point ^-inch. Then shape side seam of sidebody to close 
with the back at the waist, and your coat wdl be properly balanced. 

Diagrams 21, 22, and 23 will illustrate this more fully. 

21 represents the ujiper portion of coat di'afted to fit the shoulder. 22 
represents the back lapped over the blade of sidebody the required amount. 
23 represents the side seam of sidebody shaped to close with back. 

Example 2. — Shoulder measure, 26, Balance measure, - 24 

Half of shoulder measure, - -13 

HaH of balance measure, - ■■ ■ 12 

Average between the two measures, - - -So 

Blade measure, 22f. 

Note. — If, for instance, blade measure should be 21J^. and the average between the shoulder and 
balance measures should be 24^, you will find that 24| in the fourth column is ^ incii too larre, and 2.3| 
in the fifth column is i inch too small. 24| require \ inch, and 23| require | inch lap ; you wi i therefore 
lap sidebody over Iiack i inch and a sixteenth, that being the mean between \ and | inch. 

Proceed in like manner with any average which is not found in the table. 



80 



ELEMENTS OF GARMENT CUTTING. 




Diagrams 21, 22, and 23. 



ELEMENTS OF GARMENT CUTTING. 



Opposite the blade measure, in tlie sixtli column fi'om the left, we find the 
average of shoulder and balance measures, 25. Looking at toj) of column we 
find that three-quarters of an inch is the lap required. 

Now proceed to balance coat as before, lapping back and sidebody at 
blade point, three-quarters instead of half inch, as illustrated in diagram 24. 




DiAQKAM 24. 



ELEMENTS OF GARMENT CUTTING. 



83 



CHAPTER IV. 



HEIGHT OF NECK. 

There are but few cutters, I apprehend, who thoroughly understand the 
piiuciples which govern the height of neck. 

So long as the fomi to be fitted is well proportioned, most cutters have 
no difficulty in cutting the coat so as to fit properly about the neck , but when 
it is stooping, or has extra high, or sloping, shouldere they are at fault. 

The expedients that are resorted to to overcome this difiiculty are fre- 
quently laughably absurd. 

I have one in my mind now, which, though it is ingenious, is peculiarly 
lauo-halile from the fact of its beincr such a roundabout and awkwai'd manner 
of doing a very simple thing. 

It is especially amusing to me, because so many young cutters have shown 
it to me as a new and particularly brilliant "bright." 

Diagram 25 represents the "brio-ht." 




DiAGKAM 25. 



The back has been cut as for a well-formed man, then cut across from a 
to h, and opened out as represented. This certainly raises the neck. Imt not, 
as many suppose, simply because the back seam is lengthened. The secret of 



84 



ELEMENTS OF GARMENT CUTTING. 



its bringing the coat liiglier about tlie neck is, that it iuci'eases -the amount of 
cloth between a and c, and between d and e, thereby making room for the 
large round of the client's shoulders. 

The objections to this method are that it destroys the shape of the back, 
and is unscientific and unreliable. 

The desired result ma}' be effected in a simple and surer manner, as 
represented in diagram 26. 




Diagram 26. 

The dotted lines represent the only alteration necessary from a di'aft for 
a M^ell-proportioned man, of the same ujijier-shoulder and balance measures. 

The extra cloth over the shoulder and l)lade enables the coat to I'ound 
smoothly over the prominent blades and i-ound shoulders. 

Tliat it produces the same i-esult as that produced by the unsightly round- 
ing of the back, Mali be evident from a cai'eful examination of diagram 27- 



ELEMENTS OF GARMENT CUTTING. 



85 



The dark lines represent the coat as changed fi'om a di'aft for a well-shaj)ed 
man to fit another who lias round shoulders, by opening the back as repre- 




Diagram 27. 



sented in diagram 25 : the dotted lines represent the same draft ^v■ith proper 
additions made to blade and droop of shoulder. 



86 



ELKMENTS OF GARMENT CUTTING, 



It will be observed tlmt tiie distance from jioint at front of sye to A, fi-om 
same point to H, and from same point to top of back, is the same in each draft, 
and also that both coats ai'e balanced alike. 

The following expeiiment will illustrate the principles Avhich govern the 
height of neck. 

Take a coat that fits a well-formed man, and rip the back and side seams, 
let him then put it on and round or hunch his shoulders as much as he can. 
You will find that the neck will remain of the right height, and that the coat 
will preserve its balance ; but the back seam and the side seams will gap as 
illnsti'ated by figure 1. 




Fig. 1. 



It is evident that there is nothing the matter with the coat except that it 
is not large enough across the back. More cloth added to the top of back 
would merely make the back too long for the forepart. 

Now close the back seam and rip the shoulder seam to within one inch 
of the neck, and place the coat again upon your client, who, of course, is still 
stooping; you will find the coat to lay smoothly down the back and to be of 
the right height at the neck, but the shoulder and side seams gap, as in 
figure 2. 



ELEMENTS OF GARMENT CUTTING. 



It is clear, tlien, that all that is necessary to preserve the height of neck 
is to add more cloth to the shoulder and over the blades. 




Fia. 2. 



You can experiment, also, to advantage with sloping and high-shouldered 



men. 



Take a coat to fit a well-formed man whose shoulder measure is, say, 26, 
try it on a high-shouldered man of the same shoulder-measure, and it will be 
too high at the neck, but rip the shoidder seams and the coat will settle about 
the shoulders and fit him properly. 

Take the same gannent and try it on a sloping-shouldered man whose 
shoulder-measure is the same. You will find it too low in the neck, but raise 
the coat until it is the right height at neck, and you will find that there is too 
much cloth over the droop of shoidder ; pin this up and the coat will stay to 
its place. 

From these facts I deduce the following principle : Tlie height of neck is 
governed hy the depth of sye and the amount of doth placed over tlie blades and 
^lovMers. 



ELEMENTS OF GARMENT CUTTING. 



Application. For all whose upper shoiildei' measures are alike (meas- 
ure from socket-boue aruuud arm, back to socket-boue), make length of back 
above bottom of sye the same, but add to or take from the blade, and shoul- 
der except at neck, as required by blade and lower shoulder measures, or their 
equivalents. 

By lower shoulder, I mean a measure taken from center of back opposite 
. sleeve seam, around arm and back. 

Law. Tlie top of hack maist for all shapes he placed at a distmice from 
hottom of &ye ^roportkmate to tlie upper or first slkoulder-imasure, or its equivor 
lent. 



ELEMENTS OF GARMENT CUTTING. 89 



CHAPTER V. 



PROBABLE FAULTS. 

In the four previous chapters I have treated upon principles which are 
stnctly fundamental. 

As I remarked at the outset, I am addi'essing myself to those only who 
have at least a rudimental knowledge of the science of cutting. 

All wlio ha\'e, are of course able to draft a coat that will fit a well- 
proportioned man. 

These fundamental principles, although they enable an expert to draft a 
coat for any and every shape, will be chiefly useful to a majority of cutters as 
sure guides to variations necessary to be made from a draft for a well- 
proportioned coat, for various shapes of the same upper shoulder-measure. 

They will enable cuttei'S to woi'k understandingly. 

I believe that most cutters are men of supei'ior intellect, and that they 
\vill be able to apply correctly these principles when they once comprehend 
them. 

I shall now offer a few remarks in regard to the shoulder. 

If the shoulder be too long or too short, the coat will of coui'se be wrong. 

Every cutter knows this, and yet so firmly do many believe that the 
balance is governed by the shoulder that they frequently cut it too short, and 
less frequently, though quite often, too long. 

If the man stoop, they will shoi'ten the shoulder instead of adjusting the 
lower to the upper portion of coat in a different manner. 

The result is a bad coat. 

Not more than one cutter in thi-ee cuts his shoulder long enough. 

This prevalent error arises, I belie\e, from undertaking to make what are 
called " actual measures " pi-ove. 

For instance: If a man's shouldei- measure 25i inches, it is difficult to 



90 



ELEMENTS OF GARMENT CUTTING. 



(.•ouvince a cutter that the draft sTioiiM measure 28 inches or more ; hence they 
allow to di'aft but little if any more than for the seams. The play of miiscles 
and necessaiy ease for grace are not considered, — the result is too short a 
shoulder. 

Half the coats we see upon the street have this failing. 

It is singular how cutters will gf) on year after yeai- turning out coats 
which are too short from fi'ont of sye to socket-bone in front, and never 
discover wherein they are at fault. 

They are afraid to cut the shoulder longer, fearing it will cause the 
coat to be loose about the neck, or to hang off at ^vaist. 

Their coats when first put on may, if Avell made and considei'ably stiffened 
with hair cloth, set smoothly about the shoulders, but after they have been 
worn a week or so they will wrinkle and break through the shoulders, aa 
represented by figui-e 3. 




Fig. 3. 



The shoidder of this coat from socket-bone to front of sye is at least 
three-(|uarters of an inch too short ; that amount added to it would make it 
smooth and woidd not affect the balance. 

The length of shoulder shoul i be the same for all shapes that measure 



ELEMENTS OF GARMENT CUTTING. 



91 



alike from the points I have indicated, id est, from socket-hone around ami 
and back ; so that if you can place a good shoulder upon one man, you may 
upon all. 

How to find the proper length I do not propose to demonstrate, as it ia 
a matter that every cutter can determine by a few expeiiments. 

I merely call attention to a common fault in coats, and to its remedy. 

There is no occasion for any cutter ever to produce a coat the shoxdder 
of which bears any resemblance to that represented by figure 3. 

The shoulder is too short, aud should be lengthened as represented in 
diagram 28. 

A shoulder too long is a less frequent, though quite a common fault 

Figm'e 4 represents a coat the shoidder of which is too long. 




Fia. 4. 



It will be observed that it hangs from the neck. 

Many cutters who have this fault, instead of cutting the shoulder shorter 
between the front of sye and socket-bone, add cloth to droop of shoulder so as 
to allow the coat to fall to its place, as represented in diagram 29. 



92 



ELEMENTS OF GARMENT CUTTING. 



The result is, tliat altliough the coat falls to its place about the neck, 
whenever the wearer sits it will climb up toward his ears, the amihole being 
made too deep. 





Diagram 28. 



Diagram 29. 



Another vt'vy frequent fault with foats is that Avhen they are buttoned 
the roll iiares out instead of l_\'iHg smoothly over the breast, as represented by 
ficrure 5. 




ELEMENTS OF GARMENT CUTTING. 



93 



There are two causes for tliis: one is the lialance. If the coat is 
improperly bahuiced and swing from the Avaist, Avhen it is di-awu to its place 
by being buttoned there nuist ))e loose cloth in the break. 

The other cause is that there is not enough cloth over droop of shoulder. 

If your coat have this fault and swing at waist, cany the side seam of 
sidebody farther forward at the waist, and you will remove it. 

But if >'our coat hang pr(.)perly, add more cloth to shoulder over droop, 
as represented in diagram 29. 

Another connnou fault with coats is, that they wrinkle from under arm 
to side seam, as represented in figure 6. 




Fig. 6. 



This is sometimes caused by the coat striking too closely at the hips; 
sometimes by there being too Uttle cloth over the blades; sometimes by the 
shoulder being too short; and more fi-e(iuently by cutting out too much under 
the arm between sidebody and forepart, as represented in diagram 30. 



94 



ELEMENTS OF GARMENT CUTTING. 



Wlieii the sidebody is joined to the forepart, it is thro\vii out aud down 
at A, so that when it is held to its place by the back it is twisted, and loose 
cloth is thi'own in wrinkles under and back of the arm, as represented. 




Diagram 30. 

This fault is also not infrequently the result of cutting too little cloth 
over the droop of shoulder, which prevents tlie back seam of back coming 
naturally to its place, as represented in diagram .'51. 

The broken lines represent the vest, the solid lines represent the backs, 
which, it will be observed, do not come together below the neck. 

Now, it is evident that when they are seamed there \vill be loose cloth 
forced to their closing edges, which will gi\'e the back a baggy appearance, 
and cause the coat to draw into wiinkles, as represented in plate. 

Aftei- these explanations a cutter should be able to see which of these 
errors in drafting has caused the fault we ai'e discussing, and to remedy it by 



ELEMENTS OF GARMENT CUTTING. 



95 



adding more cloth to blade or hip, by cutting out less under the arm, or by- 
adding more to the di'oop of shoulder. 




Diagram 31. 



Another common fault which arises from cutting too much out frorii 
undei- the arms is, that the coat when unbuttoned flares at the hips. 

To cut a graceful coat you must cut but little out under the anr., unless 
the hips are extremely prominent. 

The coat should be cut large, so as to button without any forcing 
whatever. 

A good guide is to take a hip-measure and to cut the hip by it, adding 
two and a half inclies for making and necessary ease. This relieves you of 
the necessity of cutting out so much under the arm to allow coat to sj^ring 
over the hips. 

Half an inch is enough to cut fi'om under the ann for ninety-nine men out 
of every hundred. Even if a man requii-es more it is better not to cut it, oi- at 
least not to cut out over three-quarters of an inch. 

The coat ^vill hang more gracefully if but little is cut out, and wiW not 
splay if unbuttoned. 



96 



ELEMENTS OF GARMENT CUTTING. 



Anothei- common fault is represented by figure 




Fig. 7. 



This is generally caused by cutting too much cloth on sidebody over 
blades, and is an easy matter to avoid after you find y<jur coats incline to this 
fault. 

Sometimes it is caused by cutting too much cloth over droop of shoulder. 

This ei'ror probably originates from cutters endea\'oring to make a square 
and handsome shoulder, as repi'esented in diagi-am 32. 




DiAQBAM 32. 



ELEMENTS OF GARMENT CUTTING. 



97 



The dark lines represent a coat that ^vill fit, but the shoulder-seam is round 

and homely. 

The broken lines i-epresent the shoulder-seam straight and square, but the 
coat will have the fault we are discussing. 

This error arises from the cutter forgetting or not knowing enough to take 
from top of sidebody some of the extra cloth he has added to the shoulder, 
or building the shoulder up with wadding. 

Had diagram as represented by dark lines been manipulated as indicated 
by diagram 33, the fit would have been preserved, and the shoulder-seam 
Avould have been straightened and squared. 

The dotted lines represent the changes made. 

From top of sidebody it will be observed there is taken nearly as much 
as has been added to the shoulder. 




Diagram 33. 



Sometimes the back is cut too long ; this can be easily detected, and can 
always be avoided l)y governing your draft by my method of regulatmg the 
height of neck as explained in my system. 

There are several faults that arise fi'om the collar. 



98 



ELEMENTS OF GARIVIENT CUTTING. 



Figure 8 represents oue. 




Fig. 8. 



In tliis the breast is made to break lower than was intended, lay the collar 
having been cut too crooked. 

Wrinkles frecj^uently appear in the slioidder from the collar being t<x» 
tightly put on. 

Many coats are too high at side of neck. This is caused by collai- being 
cut with too much cloth below the bi-eak. 

It happens frequently Avhen short rolls are in v'ogue, the gorge being then 
generally cut straight while the same amount of cloth is placed on collar 
below the break. 

Diagrams 34 and 86 will more fully illustrate my meaning. 

Diagram 34 represents a ci-ooked gorge ; more cloth being cut from the 
forepart, more should of course be cut to the collar. 



ELEMENTS OF GARMENT CUTTING. 



99 



Diagram 35 represents a straight goi-ge ; mure cloth beiug cut to forepart, 
less should of com'se be cut from collai-. 




Diagram 34. 



Diagram 35. 



A simple and excellent rule for drafting a collar may be found among 
explanations of mj Rational System. 

Though perhaps a little out of place, as it has nothing to do with the 
fit, I wish to call your attention to the cutting of tlie breast of the coat. 

Very many coats which roll low are I'uined in appearance by the timidity 
and ignorance of the cutter, ^v•ho will not add to or take from the size of the 
breast. 

Diagram 36 will make what I mean more fully imderstood. 

The dotted lines represent a coat drafted to the size of breast, with the 
usual amount, two and a half inches, added. 

The roll of this coat would be too light, }'et the ordinary cutter ^\•ould so 
cut it I'ather than go beyond his measure at breast. 

The dark lines represent the breast rounded so as to gi-\-e a full, gi-aceful 
roll. 

This does not, as so many suppose; affect the size, as the coat biittons 
below the breast, and the extra cloth turns o\'er and does iK^t change the size 
of the garment. 



100 



ELEMENTS OF GARMENT CUTTING. 



Diagram 37 represents the other extreme. 

The (lotted lines, as before, represent tlie coat drafted with usual allow- 
ance to breast-measure. This would make too hea\}- a roll, yet the ordinary 




Diagram 36. 



Diagram 37. 



cutter would not dare to cut do^vn the breast as he should to reduce the size 
of roll as represented by dai-k lines. 

The fit of a coat is not infi-equently ruined by the sleeve. If the sleeve 
is not properly cut, or if it i|5 put in wrong, it ^vill affect the coat. 

A very common error is to cut all sleeves for the same sized amihole by 
the same pattern ; the result is, that some have too much, while others have 
too little, round over the top. 

The sleeve should be cut according to width of shoulder, flat or I'ound, as 
the shoulder is wide or narroAV. 

A simple and infallible rule for drafting the sleeve may l)e found among 
the explanations of my Rational System. 



ELEMENTS OF GARMENT CUTTING. 



101 



Faults in the skirt are very common ; sometimes the skirts will lap and 
sometimes spread apai-t. 

They are also very frequently cut too full or too scant in front. 

These faults, however, never occur with first-class artists; they result 
from a lamentable lack of Judgment. They are very unsightly, and mm the 
appearance of a garment, however perfect it may be in other respects. 

A very simple and accurate skirt-rale may be found among the explana- 
tions of my Kational System. 

Sacks. 

The sack is a garment that is always more or less worn. 

Strange as it may seem, it is only a few years since it was almost univer- 
sally drafted by the breast-measure, and even now many cutters use nothing 
else. 




Diagram 38. 

It is a garment that is decidedly unsightly unless well cut, but is graceful 
and becoming to certain fonns if cut in an artistic manner. 

A popular error in regard to the sack is that the shoulder should be cut 
different from that of the frock, but such certainly cannot be the case. 

The upper portion of the sack should be cut precisely as that of a frock. 



102 ELEMENTS OF GAR3IENT CUTTING. 



The only change that is ever necessary is when no cut is made under th\> 
arm ; when this is the case, the blade should l)e cut down to the size a frock 
would be with the sidebody seamed to the forepart. 

Diagram 38 illustrates my meaning. 

The dark lines represent the coat drafted as a fi-ock with cut Tuider the 
ai'ni, the broken lines rej^resent the side seam where it Avould be with the 
edges of cut la})ped for seams, and as it should be drafted \vere the cut under 
the arm omitted. 

The coat should be balanced in the same manner as a frock, adding about 
an inch at the waist for fullness. 

There is no diffei'ence between the frock and sack, so far as principles are 
concerned. The same principles govern both. In detail thei-e are differences 
which \vill bo fully treated upon under the heading of Hints to Cutters. 



ELEMENTS OF GARMENT CUTTING. 103 



PRACTICAL HINTS TO OUTTEKS. 



In entering upon this branch of my work I feel considerable diffidence 
fi-om tlie fact that some of my ideas will clash with the pet prejudices, the 
fond delusions, and the fossilized notions of many. 

Diffidence, however, will not prevent my giving full expression to my 
views, nor does it imply that I lack confidence in the soundness of anything I 
advocate or teach. 

I advise nothing that I have not tested thoroughly myseM and seen so 
tested, time and again, by others. 

Many of my ideas are not original ^vith myself, but have been picked up 
in my intercourse Avith thousands ot our best cutters. 

Many of them will be familiar to metropolitan cutters, but there are very 
few, I fancy, who will not find something new and valuable. 

To young cutters they will be especially valuable, and such will do well 
to devote to them considerable careful attention. 

The Sye. 
The comfort, and to a great extent the style of a coat, depend upon the 
shape and size of the arm-hole. 

The sye may be cut small, and yet, if properly shaped, it will not be too 

close. 

It is better, however, to cut the sye of a medium size, as it is safer, and 
prevents the breast breaking from the forward motion of the arms. 

I am aware that some will disagree with me about the shape of sye, nev- 
ertheless, I am confident that I am light. 

I have tried eveiy conceivable shape; and have foimd but one that opera- 
ted with imvaiying success. 

The sye in diagram 39 is shaped, I think, precisely as a sye should be 
shaped, with a back of medium width. 



104 



ELEMENTS OF GARMENT CUTTING. 



It will be observed that the sye is cut well out at A . This is done to 
give room to promineuce of arm at this point. 




Diagram 39. 

It win also be observed that the bottom of sye is flat. This is to prevent 
the coat having a tendency to climb when the anus are I'aised. 

An arm-sye cut in this shape should measure about 17 inches for a 25- 
iuch shoulder. 




Diagram 40. 



ELEMENTS OF GARMENT CUTTING. 



105 



It will be large and comfortable, and ^vill make an elegant shoulder. 

There are many faults common in the shaping of sye, to a few of which 
I propose to call attention. 

Diagram 40 represents one which is extremely prevalent. 

The dark lines represent a sye properly shaped. The broken lines one 
shaped in the faulty manner to which I refer. The latter will bind the arm 
and cause Avrinkles, and will permit the coat to climb with the raising of the 
arms. 

Another common fault is cutting the sye so that at the shoidder and the 
side-seams there are coi-ners. What I mean may be readily understood by an 
examination of diagrams 41 and 42. 




Diagram 41. 



The sye poi-tion of the l)ack does not range with the other portion of sy.t. 
The result is a badly fitting sleeve and an unsightly coat. 



106 



ELEMENTS OF GARMENT CUTTING. 




DiAORAM 42. 



Another common fault is illustrated in diagram 43. 




Diagram 43. 



The cutter desires to cut a large, easy sye, but instead of doing so, merely 
cuts down the shoulder -without gi^^ng the arm any e.xtra I'oom ; tlie dotted 
lines represent the sye before its shape was changed. 



ELEMENTS OF GARMENT CUTTING. 



107 



More than half the euttei's foi- such a sye would draft precisely the sleeve 
they wt)uld if sye Avere shaped as indicated by dotted lines. As a natural 
consequence, the sleeve will SAving too far forward, and draw the shoulder out 
of shape. 

Many cutters are deceived in regard to the size of the sye by the number 
of inches it measures. 

This, though it seems paradoxical, is perfectly consistent. 

The sye, however many inches it measures, if it bind the arm, is small, 
and however few it measures, if it is easy and comfortable, is large. 

The sye may be made to require a large sleeve-head, and U) seem large, by 
cutting it large where it is unnecessaiy to do so. 

Diagrams 44 and 45 illustrate my meaning. 




Diagram 44. 



DiAGKAM 45. 



In diagram 44 the dark line represents the change the unskillful cutter has 
made from the original draft, as represented by dotted lines, to give his cus- 
tomer ease. 

In diagram 46 the dark lines represent a common error which makes the 
sye very wide and apparently large -without giving it real, practical increase 
of size. 

The dotted lines represent where the sye should be cut ; the dark lines^ 
where it is frequently placed. 



108 



ELEMENTS OF GARMENT CUTTING. 



In both of these examples the sye will look and measure large, but of 
course will be no easier to the customer. 

The fault represented in diagram 45 is often caused by a badly-shaped 
back, as represented in diagram 40. 




Diagram 46. 

The sye portion of back is cut at too great an angle with the back seam, 
and unless the back is of extraordinary width, mW, if sye portion of sidebody 
is made to range with it, cause too much cloth to be cut from back of arm. 

The Back. 

The shape of the back has very little to do with the fit of the coat, 
though it has much to do with the style and appearance. 

It has little to do with the fit, because the rest of the coat, in drafting, is 
always shaped according to the shape of back. 

For instance : if the shoulder seam of back is cut high over droop, or 
wide at top, the forepart over droop is cut shorter, or the shoulder point not 
so long, as it would othenvise be. 




Diagram 47. 



ELEMENTS OF GARMENT CUTTING. 



109 



So also, if side-seam oi: back is cut thick over the blade, the side-seam of 
sidebody over that portion is cut narrower, and vice verm. 

The shape of back affects the fit to a small extent. For instance : if your 
client is round-shouldered, the back should be slightly rounded on back-seam, 
as in diagram 4Y. 




Diagram 48. 



Or, if your client is very hollow in the back, the back-seam should be 
hollowed at waist, as in diagram 48. 

Or, if your client is very hollow in the back a) id narrow between the 
shoulders, the back should be hollowed, as in diagram 49. 




Diagram 49. 



Care should be taken, when back is so hollowed, not to place the 
amount taken from back upon the shouldei", as is sometimes done. 

The shoulder should be tlral'ted as though the back-seam were straight, 
as illustrated by diagram aU. 



110 



ELEMENTS OF GARMENT CUTTING. 



The dark lines represent the shoulder drafted as though the back-seam 
were straight, which is right. The broken lines represent it di'afted to fit the 




Diagram 50. 

back, with hollowed back-seam even with the sti-aight back-seam at point 
marked a, whicb is wi'ong — the result being too much cloth over droop of 
shoulder. 

It is things little in themselves which constitute the difference between 
a good cutter and a poor one. Therefore I shall call attention to a number of 
little things in regard to shaping of back, Avliich, though they may seem 
trivial, are nevertheless not to be disregarded ^vithout detracting from the 
appearance of the coat. 

Cutters, as a general thing, admire a high and square shoulder, as it 
improves the appearance of the customei', and consequently of the coat. 

But in cutting the back with an e.xtra amount of cloth over droop, they 
are unable to make the forepart look exactly right. 



ELEMENTS OF GARMENT CUTTING. 



Ill 



It seems too loug aud sharp at shoulder-poiut, as illustrated in diagram 51, 




Diagram 51. 



To obA-iate this, he cuts the back wider at top ; this improves the appear- 
ance of draft, but injui'es the appearance of the coat. The top of back being 
wide and the shoulder-seam straight, it will appear to be extremely wide when 




Diagram 52. 



the collar is turned over it, giving to the neck of coat a thick, heavy, and 
clumsy appearance. 



112 



ELEMENTS OF GARMENT CUTTING. 



There are two remedies for this. 

One is to spnng out the back at top, as represented in diagram 52. 

The eflEect of this method is illustrated in diagram 53. 




Diagram 53. 



The broken lines represent the edge of collar. 

It will be obsei'ved that the springing out of back at top decreases the 




Diagrams 54 and 55. 



width between A and £, preserves the straightness and squareness of the 
shoulder-seam, and prevents the shoulder-point of draft from being too sharp. 



ELEMENTS OF GARMENT CUTTING. 



113 



The second method can only be employed when collars are cut tolerably 
wide. This method is to cut down the top of back and cui-ve of gorge, and 
to add to stand of collar, as illustrated by diagrams 54 and 55. 

The dotted line of diagram 54 represents the neck cut down ; while that 
of 55 I'epresents the amount cut from 54 added to collar to preserve the 
height of neck. 

By this method the distance between the shoulder seams at neck seems 
less than it would without the change we ai'e discussing, for the reason that 
the turn-down part of collar extends but very little below neck-seam, and 
covers less of the top of back than it would if cut otherwise. 

The shape of side-seam of back has much to do with the appearance of 
the coat. It should not be carried too high nor be cut too low. 

The first will make the top of sidebody too long and narrow to look well, 
besides rendering it liable to stretch out of shape ; while the second makes it 
thick and clumsy, and destroys the gracefulness of the lines of the back. 

If carried too high it forces the sidebody into a bad shape, as illustrated 
in diagram 56. 





Diagrams 56 and 57. 



If cut too low, as stated above, it makes the sidebody thick and clumsy, 
as can be seen in diagram 57. 



114 



ELEMENTS OF GARMENT CUTTING. 



The SroEBODY. 

The shape of the sidebody, unlike the shape of the back, greatly aftects 
the fit of the coat. 

In these " hints " I am treating on matters pertaining to taste and the 
artistic in cutting, more than of the jjrinciples which govern the fit. 

Therefore I shall not refer to the amount of cloth requu'ed over the 
blade, to the height of top, or to the balance. 

These matters have ah'eady been considered. 

The sye portion of sidebody should be cut to range exactly with the sye 
portion of back ; any neglect in this particular will ruin the ajipearance of 
the back of the coat, or may tempt the jour to use his shears to the ruin of 
the garment. 

The curve of the side seam should be smooth and graceful, and the lap 
should not be extended veiy far down the seam, else the back of coat will 
have a baggy appearance, as though the back were too long. 

Diagrams 58 and 59 will illustrate my meaning. 




Diagram 58. 



Diagram 59 



ELEMENTS OP GARMENT CUTTING. 



115 



Diagram 58 represents the side seam of sidebody falling into that of back 
aljoiit half way between blade-point and natural waist. 

Diagram 59 represent^ the side seam of sidebody joinmg that of back 
nearly as lo^v down as the waist, which cannot fail to produce an ungraceful 
garment. 

The amount of spring over the hip should depend, of course, upon the 
shape of the form to be fitted and the length of waist 

Many cutters form the side-seam with no guide but the eye. 

This is a dangerous method, as aii>' considerable change in the shape of 
side-seam of back will he liable to mislead their judgment. 

The better and safer way is, after establishing point for top of sidebody, 
blade-point, and waist-point, to lay the back upon the draft, the top of side- 
seani resting upon point for top of sidebody, and its side-seam touching point 
for side-seam of sidebody at waist, then to mark down the side-seam and 
remove the back, as illustrated in diagram 60. 




Diagram 60. 



110 



ELEMENTS OF GARMENT CUTTING. 



The side-seam of sidebody is not formed in diagram 60, but the pomts 
marked A, B, and C, have been obtained. 

The back touches upon points A and C\ and a line is marked do\Mi the 
side-seam. 

When the back is removed the draft will have the ai^pearanco of dia- 
gram 61. 




DiAOBAU 61. 



Now you have to shape the side-seam of sidebody. The line made down 
the side-seam of back is an excellent guide, as it enables you to see exactly 
how much cloth you are cutting over blade, how far dow^n you are making 
sidebody and back lap, and how much you are springing sidebody over hip. 



ELEMENTS OF GARMENT CUTTING. 



117 



Diagram 62 represents diagram 61 witli the side-seam of sidebody and 
back of sye formed. 




DiAOBAU 62. 



A is tlie length of side-seam of back with about one-quarter of an incli 
added, and is the point to which bottom of sidebody must come. 

The side-seam of sidebody should be drafted longer than the side-seam oi 
back, because in making up it is shortened while the back is lengthened. 

The amount of spring over the hip should vary for different lengths of 
waist and for different forms, from one-quarter of an inch to one inch over the 
guiding line made along side-seam of back. 

For a well-proportioned man whose waist is extended three inches below 
the hollow of back, the side-seam of sidebody should lap the back three-quar- 
ters of an inch at A, the hip point ; while for a stooping man whose back from 



118 ELEMENTS OF GARMENT CUTTING. 



blade to liip lias but little curve, it should not lap more than one-quarter of 
an iucli. 

FOREPAKT. 

The length of neck and shape of gorge ai'e, of course, goveraed to a great 
extent by fashion. As a general rule, howe\'er, the lower the roll the shorter 
should be the neck and the lower and sti-aighter the gorge, else you will have 
too heavy a breast, and your coat will pull from the neck. 

It sometimes occurs that your client measures small about the shoulders 
while his breast-measure is veiy large. 

In such a case your neck will be too long, or you will have too much 
round over the breast. From this dilemma you can release yoiu-seK by cutting 
a V, as in diagram 63. 




Diagram 63. 

On the other hand, your client will sometimes have enormous shoulders 
and a nari'ow breast. 

In such a case you should never insert a V in the neck, as it Avill make 7t 
too short, and throw imnecessary fullness in the breast. 

Omit the V, and make the gorge extend a reasonable distance beyond the 
break, making the breast flatter, taking out, if you choose, a V between the 
forepart and lapel to assist in fonning the roll. 

In di-afting the lapel, It should be borne in mind that the larger the breast 
the larger the V should be which is cut between it and the forepart. 

Cutters frequently ai-e annoyed by finding that the space between the 



ELEMENTS OF GARMENT CUTTING. 



119 



lapel aud the collar is greater tliaii they designed, and attriljute the fault to 
the jour. But they have only themselves to blame. 




Diagram 64. 
Diagram 64 represents the lapel and collar placed to draft as they ^vill 



seam. 



It certainly looks as though there would be no daylight between them 
when made up, but there will be. 

If you desire the collar and lapel to close when made, you must di-aft the 
collar so as to lap lapel fi"om one-quarter to one-half an inch, for a low or high 
roll respectively. 



120 



ELEMENTS OF GARMENT CUTTING. 



Diatrraiu 65 illustrates wliat I mean- 




DiAQKAM 65. 




Diagrams 66 and 67, 



ELEMENTS OF GARMENT CUTTING. 



121 



The collar at A projects over the lapel one-quarter of an inch, but when 
the coat is finished the two ed^es will just meet. 

In coats for fuU-breasted men, it will greatly assist the jour, in forming 
the breast to cut one or two Vs in forepart according to the fullness of your 
client's breast, as represented in diagrams 66 and 67. 

In cutting the ordinary V between lapel and forepai-t. considerable trouble 
may be saved, and you will be able to design your roll with greater accuracy, 
by adopting the method illustrated in diagi-am 68. 




DuaBAM 68. 




Dtagram 69. 



122 



ELEMENTS OF GAEMENT CUTTING. 



Draft forepai-t with lapel as represented. 

The line marked ^1 is for the V ; cut down this line and open it out to 
the size of cut you desire. This ^vill throw loose cloth over the breast. Pinch 
this together and press it down ^vith your nail. Your di-aft will then present 
the appeai-ance indicated by dark lines of diagram 69. 

A i-epreseuts the fullness caused by opening the V pressed down. 

All you have to do now is to fill out the breast as represented by broken 
line, when you lay out the coat upon the cloth. 

In cutting single-breasted cuta\vays, cutters sometimes get their coats too 
small to button over the breast. This results from cutting the front with an 
e\-en taper from round of breast to bottom, instead of rounding it to point 
wliere it is to break and cutting it away as desired fi-oni that point down, as 
illustrated iu diagram 70. 




DlAUliAU jU. 

A represents a line drawn from the breast to the waist point. 



ELEMENTS OF GARMENT CUTTING. 123 



The dark lines represent the breast drafted in the faulty manner we are 
discussing. 

The distance from this line at bottom of roll to line A, is not more than 
an inch, which will not permit the coat to button mthout forcing. 

The dotted line represents the breast shaped so as to permit the coat to 
button. 

This may seem a small matter to those who have no difficulty in this 
respect ; but I rarely ever passed a day while traveling without meeting some 
cutter who was annoyed by this very fault. 

In shaping the bottom, considerable taste may be displayed. 
Whether it be made to droop or to come straight around the form, is, of 
course, regulated to a great extent by fashion. 

But whatever the fashion may be, the bottom shoxild never be made too 
short or too long in fi-ont. 

A slight di-oop always looks well and is never unfashionable. 
A V should be cut in the bottom except for very nai-row-chested men. 
Many cutters labor under a strange delusion in regard to this V, thmkiug 
that its pui-pose is to give spring over the hip. 

A moment's reflection should disabuse their minds of this. Unless the 
V is cut veiy large it cannot be made to give any perceptible spring, and if 
it could, it would place it where it is not required. It would make the coat 
splay at the hips, than which there are few faidts more detrimental to the 
appearance of a coat. 

The V in the bottom is to enable the jour to form the breast, and should 
be cut with that single purpose. It should also be cut in such a manner as 
not to disarrange the form of bottom when it is seamed. 

This is done by making the edges run parallel for an inch or more from 
the bottom. 

Diagrams 71, 72, 73. 

In 71, the V is cut to give fullness to the breast, it is the same size at the 
bottom that it is two inches above : the two sides are parallel for that dis- 
tance ; when seamed, the shape of bottom will be unchanged. 



124 



ELEMENTS OF GARMENT CUTTING. 




Diagram 71. 




Diagrams 72 and 78. 



ELEMENTS OF GARMENT CUTTING. 



125 



In 72, the V is cut so as to produce the same effect without springing the 
hips, but it is widest at the bottom and tapers in straight lines to a point. 
When it is seamed, the shape of bottom will be the reverse of that illustrated 
in diagram 75. 

In diagram 7;^, the V is shaped to spring the hip; when it is seamed the 
bottom wiU have the shape of bottom in diagram 75. 



DiAGBAM 75. 




Diagram 76. 



126 



ELEMENTS OF GARMENT CUTTING. 



The shape of bottom can of course be preserved by trimming the pattern 
when the edges of the V are closed, but not one cutter in a hundred who so cuts 
his Vs, <>,hangps the shape of the bottom from what it would be without the 
cut, the consequences are the coat splays at hip, and the skirt hangs badly. 

Skirt. 

The first thing to be done in drafting the skirt is to shape the top. The 
manner in which it should be shaped depends upon the fashion in vogue. 

Sometimes fashion requires the skirt- to have considerable drapery, and 
sometimes, as at this wiiting, the skirt is cut with no di-apery whatever. 

We Avill consider the latter first. 

It may be laid down as an axiom, that a skirt without drapeiy should be 




Diagram 77. 



ELEMENTS OF GARMENT CUTTING. 



ij; 



draped to fit the bottom of forepart and sidebody exactly ; this will make it 
hang as though the body and the skirt were one xmcut piece of cloth. 

The following method will be found very simple and accurate. 

Lay your lapel, forepart, and sidebody iij)on your cloth with their edges 
evenly Joined at bottom, as illustrated by diagram 76. 

Mark across the bottom, and, after marking width remove the forepart and 
sidebody, leaving the lapel ; now shape the front, letting it be at an angle 
which will lap the lapel at the most prominent point one inch, as illiisti'ated in 
diagram 77. 

A is the line for front of skirt, it laps the lapel at jB one inch. This wiU 
give the proper amount of spring for the front. 

The spring of back is moi-e difficult to regulate, as some forms require 
more spring than others. It should, however, be ranged with sidebody, and if 
that is properly di'afted the spring must be right. 

Vest. 
Many cutters are extremely slovenly about the manner in which they cut 
their vest backs, and, as a natural consequence, very seldom produce a good 

vest. 




Diagrams 7? and 79 



128 



ELEMENTS OF GARMENT CUTTING. 



The practice of cutting the back wthout a seam is a bad one ; it stould 
never be done except for veiy fleshy men, and even for them only occa- 
sionally. 

It necessitates the drawing in of the vest by the back straps, which is 
something the cutter should ahvays seek to avoid, not only because it injures 
the vest, but ckiefly because it ruins the apj)earance of the coat, unless it is of 
very heavy matei'ial, or is a sack. 

There is nothing that is more offensive to the artistic cutter than a pro- 
tuberance at the waist caused by the cloth in a vest-back puckered together by 
the sti'ap. 

The back, as a rule, then, should always be hollowed. 

In cutting the shoulder, the vest may be made to fit about the neck 
smoothly, by giving it proper shape. 





Diagrams 80 and 81. 



ELEMENTS OF GARMENT CUTTING. 



129 



Instead of cutting it sti-aiglit, hAlow it near slioiilder point, as in 
diagi'am 78. 

In shaping tlie sye, too muoli c-lotli should not be out out; a large amount 
of shirt sleeve exposed o\er the back shoulder, always looks bad, and should 
be avoided. 

Diagi'aiM 79 will shcnv the diftVi-ence between the pi'oper and iniproi:)er 
manner of forming the sye. 

The broken line represents, of coui-se, the faulty manner. 

Forepart. 

The shoidder of forepart should be shaped in the same manner as that of 
back, id est, as in diagram 80. 




Diagrams 83 and 83. 



130 ELEMENTS OF GARjMENT CUTTING. 



The neck should be fut tolerahly straight, especially for long rolls. If 
cut too crooked the silesia will sometimes show between the collar and 
lapel. 

Unless the roll is very short, a V should be taken fi-om the gorge, to pre- 
vent loose cloth in break, and to give fullness to the breast. 

For a ^'ery obese man, cut a large V in forepart, as illustrated in 
diagram 81. 

This will dru\v the vest in at bottom and throw extra cloth where it is 
required. 

For very long vests this V may be taken < )ut. Its width should be about 
one-half inch, and it should extend the width of pocket. 

For small- waisted men with prominent hips, insert in same place a "fish," 
as illustrated in diagi-am 82. 

Collar. 

The collar should l)e cut from one-half to one inch shorter than the neck, 
according to length of roll. 

Vests are freipiently too high at the side of the neck. This may be 
avoided l:)y cutting the collar as illustrated in diagram 83. 




ELEMENTS OP GARMENT CUTTING. 



131 



It will be observed that between the collar and fV)ivi>art, at (ur\-e of neck, 
there is some space. This lo\vei-s the break and inij[)r( >\es the apjjearance of 
the neck. 

Many cutters experience some difficidty in getting their vests to lay 
properly about the neck ^vhen cut collarless. 

This may be avoided in several ways. 

First, by stretching the neck, which is a dangerous method, unless done 
by a workman of skill and excellent judgment. 

Second, by inserting a " fish," as illustrated in diagram S-i. 

A represents a cut made into forepart, and B the "tish" to be inserted. 

Third, by cutting the back wder, as in diagram 85. 




Diagram 85. 



The dotted lines reju-esent a piece cut frpm shoulder of forepart, and 
added to that of back. This gives the same spring to the neck that a collar 
would. 

This is a simple method, and -will be found very eflPeetiA-e. 



132 



ELEMENTS OF GARMENT CUTTING. 



Pantaloons. 

There are a few points in connection A\itb pantaloon cntting to which I 
shall briefly refer. 

Many cntters seiiously injure the appearance of their pantaloons hy 
cutting the crotch of forepart with too great a cnrve. This causes too mui'li 
cloth to appear in fiont, and often draws them too tight about the hips. 

The curve of crotch should be quite straight. 

Diagram 86 illustrates the difference between a straight crotch and one 
curved too much. 





Diagrams 86 and 87. 

In adding the dress, many cutters destroy the fit of the pantaloons. 

If the dress is added in such manner as to lengthen the distance from top 
of forepart around crotch to top of backpart, the pantaloons must inevitably 
be injured. 

The pantaloons must close ^^^thout fullness, and if tlie}^ ai'e cut as 
described above, the extra length must be cut from top of backpart. The 
inside seams will not come evenly together, and, as a consecpieiice, the two 
legs cannot hang alike, and the pantaloons will l)e liable to twist. 

In adding dress, the left side should be enlai'ged, so as to give the extra 
cloth required without ha\nng it show too conspicuously <at one place. 

The dress should be distributed between top of forepart and half ^va^■ 
between crotch and knee. 



ELEMENTS OP GARMENT CUTTING. 



133 



From three-qu:ii-tei'8 uf an inch to an incli is enough to add ordinarily. 

This should ])v a<l(U'(l as represented in diagram S7. 

The ciu've ut the left side is strain-liter so as tu make the length of Loth 
sides the same. 

For large men the top of forepai't at front should be raised from one-half 
to two inches, according to the relati\e size of waist and belly measures. 

The front should be curved over the most prominent part of abdomen, 
as illustrated in diagram 88. 

Tlie dotted line represents the sha})e for lean foi-m. The dark line 
represents the shape for man uf same Avaist and hip measure, bnt \\ith a large 
abdojnen. 

The proper amount of round to be given in front, and rise to be added 
to top of forepart, for any shape, may be determined in the following simple 
manner : 

Establish your waist and hip points, square down from ^vaist-point by 
top of forepart ; at most prominent part of aljdomen add one-eighth inch for 
every inch the belly-measure exceeds tlie ^vaist-measure. 

Draw a straiglit line from this point through waist-point and to hip-point, 
and then curve gracefull^^ 

Square from line extending through waist-point to the top of forepart at 
side seam, and you will have the correct rise and round. 

Diagram 89 is an illustration of this method. 




Diagrams 88 and 89. 



134 



ELEMENTS OF GARMENT CUTTING. 



Waist-measure 40, l)ell}- 4;'>, hei^lit of top of foi'epart from most promi 
nent part of abdomen, 4 inches. 

A is waist-point. C is line sqxiared down from this point l»y top of 
forepart. B is distance from top of forepart to most prominent part of 
abdomen (4 inches); at this ])oint tlu'ee-eighths im-h is added for lound, this 
being one-eighth inch for eacii inch the l)elly-measure is larger than the waist 
measure. /-' and F are straight lines running from this point thi'ough Avaisl 
and hip jioints. i^'is squared by line B to top of forepart at top of side seam 

Shapt' as represented by bi-oken lines. 

The top of pants shoidd, of course, be made to come just o\er the hips, 
with the waistband added. 

Sometimes however, customers desire their pantaloons to rise two or 
even three inches higher. In such cases, besides the length of outside seam, 
the leno-th from iust a))o\e the hip should be taken, and the pantaloons at this 
height should be cut to the waist-measure, as represented in diagram 90. 




DiAGHAM 90. 



A and 7? are the toji of hip; at this height the ])antalo(ins should be no 
lai'gtjr than around the top. 



ELEMENTS OF GARMENT CUTTING. 135 



An almost universal fault with pantaloons is, that a\ lieu a man sits they 
draw up badly. 

This may be caused by the fork being too short, the rise being too little, 
or the top of back at side-seam not lieiug sulHciently sprung out, and sometimes 
by all these faults combined. 

The remedies are obvious : to increase the length of fork, the height of 
rise ; to spring the top of backpart out farthei-, or to do all three. 

The reasons for the two first remedies are plain, but the reason for the 
last is not so easily miderstood. 

Diagram 91 -will make it plain. 




Diagram 91. 

The dark lines represent the backpart drafted with the top of side-seam 
not sufficiently sprung out. 

A represents a cut made across the back and opened out as much as 
required to give the necessary spring to top of back at side-seam. 

This gives, it will l>e observed, greater length from B to C, and from B to 
D. without in any way interfering with the size of body around either waist 
or hips. 



136 



ELEMENTS OF GARMENT CUTTING. 



Pants must be properly balanced or tliey -will iiie\itably hang badly. 

A very simple and perfect method of luuiging the legs to the body may 
be found in the explanations of the piineiples upon which my Pantaloon System 
is based. 

Waistbands should be cut fi'oni one-half to three-quaiiers of an inch 
longer than waist-measure, to allow for making up. 

Whole-Fall Pantaloons. 

These differ from ordinary pants c^nly about the fronts. 

All old cuttei's, of coui'Se, understand how to cut them. 

But as this style of pants is now seldom worn, tliere are liimdreds of young 
cutters to whom a little light on the peculiaiity of this style of garment -will 
be acceptable. 

It is especially for their benefit that diagram 92 and the explanations 
following it are given. 




DXAGKAM 92. 



ELEMENTS OF GARMENT CUTTING. 



137 



The top of forejiai't is cut one-half an iuoli longer than the measure 
requires, to allo\v it to turn in. The waistbands are eiit on — not on to the 
forepart, ho\\'evei' — but on to the fall bearer, as represented 1 )y broken Hues. 

The side-seam is left open to notch on forepart. 

Overcoats and Militaky Coats. 

Ovei'coats should be measured for o\'er the coat, and should be drafted 
precisely as luidercoats, except that there should be mure added to the breast ; 
say thi'ee inches. 

Military coats should be well rounded over the l)reast and the round 
worked out by the jour, care being taken not to press the fullness loo far back 
toward the sye.. 

They should be cut closer about the body than othei' coats, and should 
thei'efore be given more sj^ring about the hips. 

Tlie collar for a military coat or an overcoat, to button under the chin, if 
it turn down, should be cut as illustrated in diagram 93. 




Diagram 93. 



ELEMENTS OF GARMENT CUTTING. 139 



OPTICAL ILLUSIONS, 



Til is at first tliought may seem a strange subject to treat upon in a work 
of this description. I shall demonstrate, liowever, that it is a subject which 
very nearly concerns eveiy cutter, and which it behooves him to carefully study. 

More good cutters are ruined and more ganuents are killed through opti- 
cal illusions, than through any other cause. 

This assertion, I apprehend, will seem rather enigmatical, but it is, never- 
theless, true. 

Why is it that many cutters, who, ten or fifteen years ago, were regarded 
as first-class artists ; cutters whose garments rarely needed alteration, and were 
always tasty and graceful, have now lost their prestige, and are old fogyish 
and uncertain ? 

Their gam ents do not fit as they used to ; they do not hang so well. Why 
have they degei erated ? 

It is because of optical illusions. 

When they were successful they became accustomed tc, and fell in love 
with, a certain form of forepart, back, sidebody, skirt, sleevs, collar, etc. 

They could, then, almost tell whether a coat would fit or not by a glance 
at the pattern. 

But the styles changed, necessitating a diflierent formation of the various 
parts of the coat. 

The back and shoulder, we will say, for illustration, became wider, chang- 
ing the shape of sye. 

The side seam became straighter, or more curved, changing the form of 
sidebody, and so on through the entire garment. 

They designed a coat : the shoulder of forepart, the sye, the sidebody, all 
looked wrong; they were so difi'erent from the forms lliey had sn long used, 
that it seemed impossible they could be right. 



140 



ELEMENTS OF GARMENT CUTTING. 



They looked at each part l)y itself, and so viewed each seemed badly 
shaped. 

The shoidder of forepai't appeai'ed to have too little clotli over the droop, 
the sye seemed not deep iior broad enoiigli, the sidebody was too narrow over 
the blade and too sharp at tlie hip. 

They used their judgment (?) and whittLid, and jiared, and added until 
their draft conformed more nearly to their preconceived ideas, — and so injured 
and often killed their coats, — and so fell froni the first to the rear rank of 
cuttei'S. 

Had they viewed their draft as a whole, keeping in mind the modilioa- 
tions and changes of the parts made by style, they would liave seen that the 
draft was essentially the same as that with which they had been successful. 




Diagram 94. 



i 



The faults they seemed to see ^vere merely optical illusions, but they seemed 
so glai'ing that they could not bring themselves to leave the shape of the vari- 
ous parts unchanged. 



ELEMENTS OF GARMENT CUTTING. 



141 



Optical illusions are killing coats every day. 

A cutter drafts his back a little narrower than usual, and his sidebody 
looks as though it Mould bag at top, so he cuts it down. 

He cuts the shoidder seam of back higher at the sye, which makes the 
slioulder of forepart look too short over the droop, so he adds to it, and his 
t'oat is too large about the back seam of sleeve. 

Following are examples of such optical illusions as we are discussing which 
St) frequently tempt the cutter to alter his draft to the ruin of his coat. 

Diagrams 94, 95. 




Diagram 95. 

The cutter, we Avill suppose, has been making drafts proportioned as in 
diagram 94, naiTow back with curved sided seam, and shoulder seam cut down 
at s^-e. He changes to Avide back, straight side, and high shoulder seam. The 
various parts of draft will be pi-oportioned then as repi-esented in diagi'am 95. 

To the cutter's eye, accustomed as it is to such widely different forms, each 
pait of 95 seems out of proportion. 



142 



ELEMENTS OF GARMENT CUTTING. 



He thinks the coat will kick at the waist, that there is uot suflicieut clotli 
over the blade, that the s}e is too uarl■o^v, and that the forepart over droop of 
shoulder is too short. 

Therefore he tinkers his pattern to the ruin of his coat. 

Diagram 96 illustrates the changes he would probably make. 




Diagram 96. 

These changes would certainly destroy the fit of the coat, any one of them 
would injiH'e it. 

Of course it is not often that such complete changes of style come at 
once. They come one by one, but each one as it comes leads the cutter into 
more or less trouble, through some optical illusion. 

Diagrams 94 and 'Jo 2)laced together -will appear as represented in dia- 
gram 97. 



ELEMENTS OF GARMENT CUTTING. 



143 



Diagram 94 is represented by the broken lines, and diagram 95 by tliose 
which are solid. 




Diagram 97. 



Ft will be observed that the outlines of the two di-afts are precisely alike, 
except that the shoulder of 95 is wider than that of 94. 



144 



ELEMENTS OF GARMENT CUTTING. 



Diagram 98 rejiresents the di'aft changed as represented in diagi'am 96, 
placed upon diagram 94, 




Diagram 98. 



The dark lines represent diagram !)(i, the l)roken lines diagram 94. 
Unquestionably if draft 94 would tit, draft 96 Avould not. The changes 
the cutter made to make di'aft 95 resemble 94 have killed tlie coat. 



ELEMENTS OF GARMENT CUTTING. 



145 



In drafting sacks, cutters are esjiecially liable to be misled by optical 
illusions. 

They undertake to make the forepart to conform to an ideal form regard- 
less of the raannei' in which tlie l)ack may be shaped, and, as a consequence, 
their sacks frecpiently have too much or too little spring, and ai'e too tight or 
too loose about the blade. 




Diagram 99. 

Narrow backs, we will suppose, have been fashionable for some time, the 
style has changed and backs are cut wider. 

The cutter drafts his forepart to fit the wide back, and when he has 
finished, fancies there is not enough spring, he therefore adds more, and has to 
make an alteration in consequence. 



146 



ELEMENTS OF GARIVIENT CUTTING. 



On tlie other hand, wide backs have been in vogue for some time, the style 
chansres and backs are cut nari-ower. The cutter drafts his coat to fit the nar- 
row back, and when he has finished, fancies he has too much spring, he thei'e- 
foi-e cuts down the forepart, and perhaps kills the coat. 

Diagrams 99 and 100 represent the illusions we are discussing. 




Diagram 100. 

Diagram 99 represents the sack with narrow back, which we will suppose 
the cutter has been drafting until the form of tliat style of sack is thoroughly 
impi'essed ujion his mind. 

He desii'es to cut a wider l)ac-k, the style havingclianged. 

His draft, when finished, is represented by diagram 100, which, if placed 



ELEMENTS OF GARMENT CUTTING. 



147 



upon diagram 99, will be found to be exactly tlie same garment, except in 
regard to the position of the seams. 

The cutter, however, accustomed to the greater apparent spring of diagram 
99, and not bearing sufficiently in mind the difference between the widths of 
backs, is imj)ressed with the idea that more spring should be added. 

The draft lUO appearing to have less spring than 99, is, of course, only 
an optical illusion. 

But the cutter stupidly adds more spring, as rejji'esented l)y dotted lines. 
Of couree his coat is too full in the skirt. 

On the other hand, let us, suppose that he has been cutting wide l^acks, 
imtil the form of that style of sack is thoroughly impressed upon his mind. 

He has occasion to cut a narrow back. 

His draft, when finished, does not suit liim. 

It has, he thinks, too much spring. 

It is mere fancy — merely an optical illusion, of course, as can be readily 
understood l)y regarding diagram 100 as the style to which he is accustomed, 
and diagram 99 as the draft he has just made. 




DiAGEAM 101. 



He is confident, however, that his rule has given too much spring, so he 
cuts down his pattern, as represented by dotted lines in diagram 99. 
His coat is killed through an optical illusion. 



148 



ELEMENTS OF GARMENT CUTTING. 



With the one-shaped back his judgment is good ; with the other it is 
ruinous. 

Let us suppose another case. 

The cutter is accustomed to a wide back, which requires a forepart shaped 
as represented iu diagram 101. 

The side-seam of forepart, it will be observed, is cut straight over the 
blade. 

But the style changes to a narrow back, necessitating a side-seam shaped 
as represented in diagram 102. 




Diagram 102. 

The side-seam is slightly curved over the blade. 

The cutter, looking at his draft., so shaped, concludes that it nmst be 
A\ roiig, and so shapes it to reseml)le tliat required for the wider back. 

The I'esult is a bad fitting garment. 

These are but a few of the cases in which cuttei-s are misled by optical 
illusions. 

I have ])ointed them oiit from among the many others, because of their 
more frequent occurrence. 

The principal object of these remarks is to point out the danger of 



ELEMENTS OF GARMENT CUTTING. 



149 



judging of any part of a draft by some preconceived idea of ^vhat its sliape 
should be. 

The only safety is to examine your draft witliout regard to the shape of 
the seams, that is, to look only to the outlines. If they ai-e as they should be, 
the position of the seams may be such as taste or fashion dictates. 

These facts came to my knowledge once as a Godsend, and hoping they 
may come as such to the knowledge of others, I dismiss the subject. 



ELEMENTS OF GARMENT CUTTING. 151 



MAKING. 



Very few directions are necessary for making, except for tiglit-fitting 

garments. 

- Coats. 

Coats are now worn so large that they need very little stretching or 
shrinking. 

For extra erect men the gorge should be stretched a little for a couple of 
inches from the shoulder seam. 

The breast should be cut with sufficient roimd to allow for its being 
shrunk in to give shape. 

The collar should never be i»ut on tight* 

The edge stay should be put on fair. 

It is never necessary to shrink or stretch the sidebody. If it is stretched 
lengthwise it will shiink again and cause the back to })ec()me full. 

For round-shouldered men, the sidebody should be i)ut on a trifle short 
to the back over the roimd of bla:de. 

For tight-fitting coats the sye should be stretched from one-half to three- 
cpiarters inch in front. 

Pants. 

For spring-bottom pants the canvas should be cut on the bias, as it can 
be more easily shaped if cut in that manner. 

The backpart, before seaming, should ])e stretched on the in-seam one-half 
inch between the crotch and the knee, and a like amount on the side-seam 
between the hip and knee. 

The extra length caused by stretching should be kept full on the forepart 
over the calf of the leg. 

After the pants are seamed, they should be shrunk from the seat to the 
top of the calf of the leg on tlie backpai-t, and pressed into shape. 



].-,2 ELEMENTS OF GARMENT CUTTING. 



Vests. 

h^or rolling-collar vests, the collar should be put on short opposite the 
largest part of breast. This shortens the crease, pre^^entiug it from flaring, 
and produces a graceful round on the breast. 

The back should always be Joined to the forepart at the nei-k, and under 
the arm even ; any e.xtra length should then be cvt fi'om the lower imrt of the 
shoulder-strap and fi'om the bottom. 



ELEMENTS OF GARMENT CUTTING. jjy 



HOW TO ALTER. 



Coats aviiicii Swing at the Waist. 

If tlie coat fit |.i'(.perly ;il)()ut tlie neck, and fastens or buttons as it 
should, that is, witliout turcf, the sidel)ody should be cut down. 

If the coat when buttoned hang oif from the neck, or does not rMitton at 
the waist naturally, the shoulder is wrong, and should, if the neck is of the 
right height, be cut down, but if the neck is short, the shoulder should be 
moved further back. 

If the neck is too short and have a tendency to hang off when the coat 
is unbuttoned, you can do no better than to cut another coat. 

Coats that Ridp: tuk Hips. 
If a coat ride the hips and is loose about the top of the sidebody it 
should be altei-ed as illustrated in diagram 103. 

Broken lines represent the changes to be made. 

If the coat is not loose about the top of sidebody, it is unalterable. 

Bad Necks. 

If the coat is too high at the neck and fit properly elsewhere, cut the 
neck down, or lower the stand of collar if it can be done sutficientl\-. 

If too short in the neck and the fit is otherwise propei-, lengthen the top 
of back and front shoulder if you have outlets, if not, shorten the shoulder- 
strap and di'op the sye. 

If the coat hang off fi-om the neck and the sye does not bind the arm 
and the fit is otherwise good, cut down the shoulder-point and shorten the 
collar. 

If the coat have this fault and bind the arm, let the shoulder out over 
the droop and the coat will fit properly about the neck. 



154 



ELEMENTS OF GARMENT CUTTING. 



Bad SHOTTLDERa 

If the shoulder wiinkle aud draw diagonally from the neck to the sye, 
the shoulder is too crooked, or too short, or both. If too crooked the 
Avriukles will disappear if the arms are thrown well back, aud the coat can be 
altered by carrying the shoulder farther back and letting it out at the neck. 

If the ■wiinkles do not disappear when the arms ai'e thrown back the 
shoulder is too short and should be lengthened. 




Diagram 103. 

If the shoulder is both too short and too crooked, the coat may, perhaps, 
be altered, blit I should not have courage enough to tr}% 

If the shoulder have a tendency to fold horizontally, if it is full and 
baggy, it is too straight and should be carried further forward, aud shortened 
a tiifle over the droop. 



ELEMENTS OF GARMENT CUTTING. 



155 



Bad Blades. 

If the coat draw in wrinkles from iinder-arm to side-seam, the back is 
probably too short. If this is the fault, it can be remedied by lifting the side- 
body, cleaning out back s}"e and paring down l)ottom of forepart. 

The fault is, however, frequently caused by the sidebody being entii'ely 
out of harmony with the back. 

By the following method you can easily discover where the trouble is : 
Rip the side-seam to Avaist and try on the coat ; if the back is too short it will 
draw up from the waist, but if the fault be in the sidebody, it will lap the 
back as illustrated in diagram 104. 




Diagram 104. 



There is no other remedy in this case than a new and properly cut side- 
body. 

Sometimes these wrinkles are caused by there not heiug cloth enough 
from front of arm to back seam; in this case the sye A\ill bind the arm; to 
enlarge the sye will remedy the fault. 



156 



ELEMENTS OF GARMENT CUTTING. 



If the coat is baggy back of the arm, the fault may be in the shoulder or 
at the blade. If the shoulder is too far forward, the coat will ride the hips, 
and should be altered as illustrated in diagram 103. 

If the shoulder is too long over droop, the loose cloth will disappear if 
you lift the shoulder or place a handkerchief upon it under the coat. In this 
case the shoulder should be cut down or padded more. 

If the coat is otherwise as it should be, and the loose cloth remain when 
the shoulder is raised, the sidebody should be cut down either on side-seam or 
under arm-seam. 

This defect is sometimes accompanied with a baggy appearance across the 
back ; when this occurs the back is too long, the^back must be raised and cut 
down at the top and across the shoulder. 

Bad Skirt. 
If the skirts lap they may be made to hang right by altering, as in dia- 
gram 105. 



DuaRAM 105. 
Dotted line represents the alteration- 



ELEMENTS OF GARMENT CUTTING. 



1C7 



If they spi-ead apart they may be made to hang right by altering as iu 
diagram 1U6. 




DlAQBAM 106. 



ELEMENTS OF GARMENT CUTTING. 159 



DUTIES OF THE CUTTER, AND ETIQUETTE 
OF THE CUTTING-ROOM. 



Your duty to your employer requires you to treat him witli respect, to 
conform to the established rules and usages of his house, to be at your cut- 
ting board at a I'easonable houi-, to work diligently through working hours, if 
you have work to do, to give him your best work of head and hand, to cut 
your cloth to the best advantage, to treat his customers with politeness, to 
manifest a dispcjsition to please, and to be a gentleman. 

Your duty to your employer, requiring what I have mentioned, makes it 
incumbent upon you to allow nothing that can be prevented to interfere ■\^^th 
the successful execution of your work. 

If your employer, or any in his employ, annoy you by unnecessary sug- 
gestions while ascertaining the style of gannents desired by joxiv client, or 
while securing his measure, mention it at once, giving your reasons ior desiring 
the annoyance to be discontinued. 

If they interfere with you while trjdng on a garment, insist that they do 
so no more. This is your business, no one has a light to meddle with it — no 
one shoidd be permitted to do so. 

Be independent, but not impertinent. 

Many confound the two. 

Independence requires you to do what your duty to yourself demands, 
what is necessaiy to the building up or the sustaining of your reputation, to 
demand from all the consideration cUie from one gentleman to another, and to 
permit no interference or meddling -oath your duties, and no usurpation of the 
authority pertaining to your position. 

You cease to be independent and become impudent, however, when you 
presiime upon the value of your services, when you neglect your business, or 
slight your work, because you think your employer cannot get along well 
without you. 



160 ELEMENTS OF GARMENT CUTTING. 



The &"st will make you respected ; the second contemptible. 
If a customer ask yuur ad\'ice concerning a piece of cloth, the style of 
a garment, or any other matter in connection ^vith your department, give him 
honestly the benefit of yuur experience and supeiior knowledge. 

Be dignified : remembeiing always that " familianty breeds contempt." 
If a customer desire a certain style not in vogue, nor suitaljle to the 
goods, nor becoming to himself, tell him so, and courteously try to persuade 
him to have a more desirable style of gannent made, but don't press him ; if 
his mind is finnly made up, do your best to meet his ideas. 

Manifest a desire to please jour customers, ascertain and cai'efully note 
anything peculiar which they desire, number of extra pockets, etc., and be sure 
their garments are so made. 

When a customer tries a finished garment on, do not jump about him like 
a jumping-jack, and offend his good sense by telling him how admirable is 
the fit. 

Ask his opinion of it, and if he suggest any fault, examine it, and if it be 
a fault, remedy it cheerfully. 

If you see anything that should be changed, tell him so, and have it 
changed. 

Never try to persuade a customer that a bad garment is a good one. 
Never allow yourself to become irritated l)y the fault-finding of the fas- 
tidious, unless they oifer you insult, or are impertinent. 

When" a customer depaiis from the deportment of a gentleman in his deal- 
ings with you, tell him so, and resent it like a gentleman. 

If your garment is as it should be, and your customer, as is sometimes the 
case, finds fault without reason, tell him firmly that he is mistaken, but at the 
same time express your willingness to humor his whim, unless you care nothing 
about his trade or influence. 

Never be afi'aid to acknowledge any fault in your garments ; never refuse 
to see one when pointed out ; and never take offense at the criticism of a gar- 
ment by the one who is to wear it. 

If a customer complain that his coat is too long or too short, or find fault 
with a garment in any way, and he is mistaken, call his attention to your fashion 
reports, or to garments you are making for others, and let him see that he is 



ELEMENTS OF GARMENT CUTTING. lei 



■wTong ; then if he desire an alteration to be made, it must be as a favor, and 
not as a right ; and instead of regarding you as an unskilKul workman, he will 
consider you a courteous and accommodating gentleman. 

If you sometimes act as salesman, as cutters not infrequently do, never be 
guilty of the impertinence of showing a piece of goods \vith some such I'emark 
as. "This is exactly what you want," or, "I know this M-ill please you." 

Your duty is to exhibit goods for his inspection, to assist him in makino' 
a choice, to advise him, if necessary, and to take his order, not to act as though 
you considei'ed him unable to think for hinaself. 

Never criticise a gannent cut by another in the presence of a customer ; 
this savors too much of the common impudence of a barber, who remarks about 
the bad maunei' in which your hair was cut by some one else. 

Never pi'omise to have a garment finished at a given time, imless you 
intend to have it finished at the time promised ; and nev'er disappoint a cus- 
tomer if it can possibly be avoided. 

Never misrepresent ; a reputation for integrity is of almost or quite as 
nnieli value in yoiu- [)rofession as a rejjutation for skill and taste. 

Your most valuable customers are refined gentlemen ; you Avill dt) -^vell, 
therefore, to bear in mind that gentlemen love gentlemen. 

A true gentleman i-espects another, and Avill rather deal with him, even 
tliough not remarkably skillful, than with a j^erson not a gentleman, ho^vever 
great his skill. 

Never appear to be in haste with a customer ; rather make him feel that he 
is not interfering with your work, nor discommoding you. 

In measniing a gentleman do not prod him mth your thumbs or fingers ; 
when you touch him, do so -with your open liaud, and gently. 

Don't Jerk, or push, or pull him, it is awkward and disagreeable. 

Don't breathe in his face. 

Don't call out yoiu' measures like an auctioneer, to do so is coarse and 
rade. 

If he have any defonnity, do not i-efer to it unnecessarily, but note it in 
your book without remark. 

Some cutters imagine it impresses their customers ^vith a respect for their 
cai'efnlness and ability to call out for entry upon the l)t)ok such dii'ections as 



162 ELEMENTS OF GARMENT CUTTING. 



"Left shoulder one inch lower than the right;" "Round shoulders;" "Veiy 
stooping;" "Prominent blades;" "Narrow chest," etc. To do so is simply 
ungentlemauly and rude. 

Do not be guilty of boasting to your customers, it only lowers you in 
their estimation. 

On the other hand, do not depreciate yourself, this will not give you a 
rej)utation for modesty, but for affectation. 

Let your address and manner be such as to convey the impi-ession that 
you suppose your ability tt) be undoubted, not such as to give the impression 
that you are desirous of having it acknowledged. 

The former is the perfection of tact, the latter is folly. » 

The one, the manner of the acknowledged ailist and skilled mechanic, 
the other, that of his ambitious counterfeiter. 

Dress well, but not foppishly. 

Let your linen be clean. 

Your garments should fit well, be stylish and of good material, but not 
necessarily extravagant. 

Avoid ^veal■ing garments whose cold's are not in hannony, above all things 
else, in this regard, do not wear garments cut in an exaggeration of the fash- 
ion, to do so vnll make you appear ridiculoiis. 

These ndes and suggestions are imperative, and cannot be disregarded 
with impunity. 

If followed, you cannot fail to please your employer, and to be popular 
with his customers. 

If disregarded, you cannot command respect, you cannot hold your cus- 
tomers, nor can you make a valuable reputation. 

If the deportment of cuttere were more generally up to the standard of 
these rales, our profession would receive the recognition, the science and aii; 
required for its Eiviccess, deserve. 



